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SHAKESPEARE'S 

The Merchant of Venice 



EDITED, WITH NOTES, OUTLINE STUDY 
AND EXAMINATION QUESTIONS 

BY 

MAUD ELMA KINGSLEY, A. B., A. M. 

AND 

FRANK HERBERT PALMER, A. B., A. M. 



BOSTON, U. S. A. 
THE PALMER COMPANY 

120 Boyhton, Street 
i 9 i i 






Copyright 1911 



The Palmer Company 



NEWCOMB A GAUSS 

Printers 

Salem, Mass, 



©CU2S6541 



CONTENTS 



PAGE 



Preface 

Introduction 

Scene Settings ; The Merchant of Venice : 
Act I, Scene I. A Street . . •. 

Scene II. Belmont. A room ir 

Portia's House 
Scene III. A Street 
Act II, Scene I. Belmont 

Scene II. A Street 
Scene III. A room in Shylock's 

House 
Scene IV. A Street 
Scene V. A Street 
Scene VI. A Street 
Scene VII. Belmont 

A Street in Venice 
Belmont 
Act III, Scene I. A Street . * 

Scene II. Belmont 
Scene III. Venice 
Scene IV. Belmont 
Scene V. Belmont 
Act IV, Scene I. Venice. 

Justice 
Scene II. Venice. 
Act V, Scene I. Belmont. Avenue to 



Scene VIII. 
Scene IX. 



A Court of 



A Street 
Avenue 
Portia's House 
Outline Study of The Merchant of Venice 
Examination Questions .... 



PREFACE. 

The stage for which Shakespeare wrote used costume 
and other accessories merely to suggest, not to illustrate, 
the ideas of the playwright. 

To the audience of Shakespeare's day, the human pas- 
sions which form the groundwork of a fictitious plot 
were abstract conceptions; actors and action were of in- 
terest only so far as they assisted the dramatist in 
presenting these conceptions vividly. The modern mind 
has outgrown this childlike faculty of appreciating a 
story merely as a story. Fiction must now be presented 
as history, and the characters introduced must be real 
men and women moving amid appropriate surround- 
ings. 

THE MERCHANT OF VENICE will have no in- 
terest in the class-room, unless a real Venice, with its 
concourse of merchants, magnificoes, and Jews, exist in 
the mind of the pupil. It is to aid the teacher and 
student in forming such a mental picture that the notes 
on costume and stage accessories found in this text are 
designed. The usual authorities on mediaeval costume 
have been followed without regard to theatrical usage. 

The modern stage in presenting Shakespeare has dif- 
ficulties to surmount and purposes of its own to serve 
which do not concern the reader of the plays. 



INTRODUCTION. 

I. CHARACTER AND SOURCE OF THE "MERCHANT OF 

VENICE." 

"THE MERCHANT OF VENICE" is a dramatized 
tale, a diverting story, adapted to the stage as a popular 
play, full of incident and sparkling dialogue and appeal- 
ing in every line to the opinions and prejudices of the 
spectators who witnessed its first production. 

The main plot of the play was doubtless suggested to 
Shakespeare by an Italian novel, one of a collection pub- 
lished about 1558 as the work of one Ser Giovanni of 
Florence. These novels purported to be stories of con- 
temporary real life; and, as Italy was regarded as the 
country where the art of refined social intercourse was 
most successfully cultivated, they were eagerly read all 
over Europe. 

This novel of Ser Giovanni's collection, illustrating as 
it did the dangers of suretyship and showing the cruel 
revenge of a usurer foiled by a woman's wit, at once 
caught the popular fancy. It was translated into Eng- 
lish and made the subject of an English ballad which 
had a wide circulation. 

Shakespeare seems to have been attracted to the story 
by the ballad; but he certainly compiled his play direct- 
ly from the Italian novel, combining with it two stories 
from a collection of moral tales written in Latin and 

(ix) 



X INTRODUCTION 

known as the GESTA KOMANOKUM. From the for- 
mer of these stories came the incident of the forfeit of 
a pound of flesh demanded by a Jew; from the latter, 
the incident of the three caskets. These stories fur- 
nished Shakespeare with the leading episodes of the 
play, its central plot, and the outlines of the characters 
of Antonio, Bassanio, and Shylock. Under his master 
hand, these materials, which, in their original shape, 
had made a story as uninteresting to modern taste as it 
was improbable, became a drama which has outlived the 
race ^hatred that first gave it popularity and still holds a 
high place in both popular and critical estimation, not- 
withstanding the absurdities of its plot and its very 
doubtful moral tendency. 

2. CHARACTER SKETCHES. 

Shylock and Antonio. — The central figure in the 
MEKCHANT OF VENICE is the usurer Shylock, 
whose name has become a synonym in the English lan- 
guage for remorseless greed and vindictiveness. The char- 
acter of Shylock as draAvn by Shakespeare is intended 
to bear a double load of obloquy ; he is shown to the 
reader as the embodiment of all the objectionable quali- 
ties which the ignorance and prejudice of the time as- 
cribed to his race ; and as a man who feels himself justi- 
fied in giving free rein to the darkest of human passions 
— avarice, hatred and revenge. As the type of a race, 
the character of Shylock can be regarded only as a gross 
caricature. The Jews of mediaeval Europe hoarded 



INTRODUCTION xi 

money and jewels, not because they were misers by na- 
ture, but because their circumstances allowed them no 
opportunity to invest in other kinds of property. They 
seldom practiced the trade of money lending on a small 
scale, but, as a rule, the wealth of the community was 
deposited in the hands of a few of its leading members 
and loaned in large sums to princes, states, and great 
merchants. For this reason, progressive mercantile 
cities regarded prosperous Jewish communities within 
their walls as distinctly advantageous; and, in such 
cities, the Jews, although they were hated and often 
abused by the mob of aliens and unbelievers, were en- 
titled to legal protection for person and property. The 
Jews were a proud and sensitive race ; they returned in- 
sult for insult; and, but for the fact that they were un- 
armed in the midst of an armed population, they would 
doubtless have answered violence with violence. But the 
belief that the Jews sought to avenge the wrongs of their 
race by oppressing the Christians with whom they had 
business dealings was merely a vulgar superstition. 

Although it pleases Shylock to regard Antonio as- 
representing the persecutors of the Jewish race, he evi- 
dently singles him out as the object of special hatred for 
reasons purely personal. We may suppose that the two 
men are equal in means and in magnitude of business 
dealings. It mortifies and enrages Shylock to see his 
rival regarded as an ornament to the state, associating 
on equal terms with princes and nobles, while he him- 
self is treated as a social outcast by the men who bor- 



xii INTRODUCTION 

row his money. The conduct of Antonio has been most 
exasperating. As a business man, Antonio knows well 
that the business of lending money for profit is as legit- 
imate as doing anything else for profit, yet he does not 
hesitate to proclaim on the Eialto his opinion that Shy- 
lock's business operations indicate a sordid nature and 
a corrupt religious creed. More than that, he calls the 
attention of the rabble to the physical helplessness of 
the Jew by gross personal insults. 

But making all allowance for years of such provoca- 
tion and for the maddening misfortune which overtakes 
Shylock during the action of the play, his scheme of re- 
venge seems inhuman and revolting. We can admire 
the grandeur of his hatred as we can admire the ferocity 
of the tiger, but we rejoice at the escape of his intended 
prey and have little sympathy for his real losses and 
calamities. 

Portia. — The character of Portia is wholly the crea- 
tion of Shakespeare, only the incidents of the Trial 
Scene and the foolery with the rings being borrowed 
from the Italian novel. Aside from the charm of youth, 
beauty, and wit with which the dramatist has endowed 
her, she is the typical Italian grand lady, reared in 
princely magnificence and haughty seclusion. It was a 
common thing for such young women to devote a por- 
tion of their abundant leisure to the study of the ab- 
stract sciences, especially to such studies as framed the 
mind for those subtle disputations on which the learn- 
ing of the Middle Ages lavished itself. Italian fiction 



INTRODUCTION xiii 

saw nothing impossible in the incident of a young lady 
so trained throwing a doctor's gown over her ordinary 
costume and impersonating a Doctor of the Civil Law 
in a court of justice. 

Jessica & Lorenzo. — The rather uninteresting charac- 
ters of Jessica and Lorenzo seem to owe their existence 
to the dramatic necessity of keeping the love story ele- 
ment in operation throughout the play. 

The other characters are merely parts of the stage 
machinery and need no special notice. 



THE MERCHANT OF VENICE 



SCENE-SETTING. 
ACT I.— SCENE I— A STREET. 

Note, This opening scene introduces, either in person 
or by name, the principal characters of the play ; explains 
the title ; and sets to working the machinery which later 
serves to develop the plot. 

(1). Setting of the Scene. A street in Venice. — An 
open square paved with red brick, looking- out over a sea 
wall on the open sea beyond; vessels under sail are seen 
in the distance ; near the sea-wall, gondolas are floating 
about or are swinging at gaily painted mooring posts. 
The right of the scene is the wall of a lofty palace, 
showing the elaborate window tracery and the gold and 
colored marble decoration characteristic of Venetian 
architecture. The left of the scene is a two-storied 
colonade of marble elaborately carved and ^^^orated. 

(2). Actors. 

Antonio, a wealthy merchant of Venice. 
Bassanio, a Venetian nobleman. 
Salarino, Salario, Gratiano, Lorenzo, Friends of 
Antonio and Bassanio, but of humbler rank. 

(3). Costumes. 

Antonio wears a doublet, or sleeved waistcoat, of 
purple velvet, with starched ruffs of white linen at the 
neck and frills of the same at the wrist ; tight fitting 
trunk hose of the same material, reaching to the knee ; 
white stockings and black leather shoes. A light silk 
cloak is thrown over his right shoulder ; on his head he 

(1) 



2 THE MERCHANT OF VENICE [Act I 

wears a velvet cap, resembling somewhat the modern 
"Scotch cap" ; he carries a walking stick. 

Bassanio wears a similar costume but more vivid 
in color and of richer material. His ruffs and ruffles are 
of lace ; he wears much jewelry ; and carries a sword at 
his left side. 

The Other Gentlemen wear costumes of similar 
fashion but more simple in material and cut. 

(5). Time of Action. A summer forenoon, somewhere 
in the beginning of the sixteenth century. 



Scene I] THE MERCHANT OF VENICE 3 

THE TEXT. 
ACT I. 

Scene I. Venice. A street. 
Enter Antonio, Salarino, and Salanio. 

Ant. In sooth, I know not why I am so sad : 
It wearies me; you say it wearies you; 
But how I caught it, found it, or came by it, 
What stuff 'tis made of, whereof it is born, 
I am to learn; 5 

And such a want-wit 1 sadness makes of me, 
That I have much ado to know myself. 

Salar. Your mind is tossing on the ocean; 
There, where your argosies 2 with portly sail, 
Like signiors 3 and rich burghers 4 on the flood, 10 

Or, as it were, the pageants 5 of the sea, 
Do overpeer the petty traffickers, 
That curtsy to them, do them reverence, 
As they fly by them 6 with their woven wings. 7 
- Salan. Believe me, sir, had I such venture forth, 
The better part of my affections would 16 

1 Define the word. 

2 Merchant ships of the long voyage. 

3 Noblemen. 

4 Merchants. 

6 Salarino compares Antonio's ships to the gorgeously dec- 
orated vessels frequently exhibited in the carnivals of the time. 

6 Describe the image presented to your mind by these lines. 

7 Paraphrase. 



4 THE MERCHANT OF VENICE [Act I 

Be with my hopes abroad. I should be still 8 
Plucking the grass, 9 to know where sits the wind; 
Peering in maps for ports and piers and roads; 10 
And every object that might make me fear 20 

Misfortune to my ventures, out of doubt 
Would make me sad. 

Salar. My wind cooling my broth 

Would blow me to an ague, when I thought 
What harm a wind too great might do at sea. 
I should not see the sandy hour-glass 11 run, 25 

But I should think of shallows and of flats, 
And see my wealthy Andrew 12 docked in sand, 
Vailing 13 her high- top lower than her ribs 
To kiss her burial. 14 Should I go to church. 
And see the holy edifice of stone, 30 

And not bethink me straight of dangerous rocks, 
Which, touching but my gentle vessel's side, 
Would scatter all her spices on the stream, 
Enrobe the roaring waters with my silks, . 
And, in a word, but even now worth this, 
And now worth nothing? Shall I have the thought 
To think on this, and shall I lack the thought 

8 Always. 

9 i. e. Tossing up a light leaf to see which way the wind 
would waft it. 

10 Anchorages. 

11 Describe an hourglass and state the significance of the 
adjective sandy. 

12 A common name for a ship, in England. 
" Lowering. 

14 Burial-place. Paraphrase lines 25-29. 



Scene I] TEE MERCEANT OF VENICE 5 

That such a thing bechanced would make me sad? 

But tell not me ; I know, Antonio 

Is sad to think upon his merchandise. 40 

Ant. Believe me, no: I thank my fortune for it, 
My ventures are not in one bottom trusted, 
Nor to one place ; nor is my whole estate 
Upon the fortune of this present year: 
Therefore my merchandise makes me not sad. 45 

Salar. Why, then you are in love. 

Ant. Fie, fie ! 

Salar. Not in love neither? 15 Then let us say you are 
sad, 
Because you are not merry : and 'twere as easy 
For you to laugh and leap and say you are merry, 
Because you are not sad. Now, by two-headed Janus, 16 
Nature hath framed strange fellows in her time : 51 
Some that will evermore peep 17 through their eyes 
And laugh like parrots at a bag-piper, 
And other 18 of such vinegar aspect 19 
That they'll not show their teeth in way of smile, 55 
Though Nestor 20 swear the jest be laughable. 



15 Modern English would demand what word here? 

16 A Roman divinitj' represented by a statue with two faces, 
one merry and the other sad. 

17 State the significance of this verb. 

18 An example of Shakespeare's use of the singular for the 
plural number. 

w Where is the accent on this word? 

20 The oldest and gravest of the heroes in Homer's "Iliad". 



6 THE MERCHANT OF VENICE [Act I 

Enter Bassanio, Lorenzo, and Gratiano. 

Solan. Here comes Bassanio, your most noble kins- 
man, 
Gratiano and Lorenzo. Fare ye well : 
We leave you now with better company. 

Salar. I would have stayed till I had made you 
merry, 60 

If worthier friends had not prevented 21 me. 

Ant. Your worth is very dear in my regard. 
I take it your own business calls on you 
And you embrace the occasion to depart. 

Salar. Good morrow, my good lords. 65 

Bass. Good signiors both, when shall we laugh? say 
when? 
You grow exceeding strange 22 : must it be so ? 

Salar. We'll make our leisures to attend on yours. 

[Eamcnt Salarino and Salanio. 

Lor. My Lord Bassanio, since you have found Antonio, 
We two will leave you : but at dinner-time, 70 

I pray you, have in mind where we must meet. 

Bass. I will not fail you. ♦ 

Gra. You look not well, Signior Antonio; 
You have too much respect upon the world : 23 
They lose it that do buy it with much care : 75 

Believe me, you are marvellously changed. 



21 i. e. Anticipated me. 

22 An American would say, "You are quite a stranger". 
28 i. e. "You take things too seriously". 



so 



Scene I] THE MERCHANT OF VENICE 

Ant. I hold the world but as the world, Gratiano ; 
A stage where every man must play a part, 
And mine a sad one. 

Gra. Let me play the fool : 

With mirth and laughter let old wrinkles come, 
And let my liver rather heat with wine 
Than my heart cool with mortifying 24 groans. 
Why should a man, whose blood is warm within, 
Sit like his grandsire cut in alabaster? 
Sleep when he wakes and creep into the jaundice y5 

By being peevish ? 25 I tell thee what, Antonio — 
I love thee, and it is my love that speaks — 
There are a sort of men whose visages 
Do cream and mantle 20 like a standing pond, 
And do a wilful stillness entertain, 90 

With purpose to be dressed in an opinion 
Of wisdom, gravity, profound conceit, 
As who should say "I am Sir Oracle, 
And when I ope my lips let no dog bark !" 27 
my Antonio, I do know of these 95 

That therefore only are reputed wise 
For saying nothing, when, I am very sure, 
If they should speak, would almost damn those ears 



24 Study carefully the meaning and derivation of this word. 

25 Explain lines 85-86. 

26 Consult the Dictionary for the meaning of these words in 
this connection. 

27 i. e. There are some men who assume a severe and dig- 
nified expression and who maintain an obstinate silence, that 
thereby they may acquire a reputation for wisdom. 



8 TEE MERCEANT OF VENICE [Act I 

Which, hearing them, would call their brothers fools. 
Fll tell thee more of this another time: 10 ° 

But fish not, with this melancholy bait, 
For this fool gudgeon, this opinion. 28 
Come, good Lorenzo. Fare ye well awhile : 
I'll end my exhortation after dinner. 

Lor. Well, we will leave you then till dinner-time: 
I must be one of these same dumb wise men, 106 

For Gratiano never lets me speak. 

Gra. Well, keep me company but two years more, 
Thou shalt not know the sound of thine own tongue. 

Ant. Farewell : I'll grow a talker for this gear. 29 

Bass. Gratiano speaks an infinite deal of nothing, 
more than any man in all Venice. His reasons are as 
two grains of wheat hid in two bushels of chaff: you 
shall seek all day ere you find them, and when you have 
them, they are not worth the search. 

Ant. Well, tell me now what lady is the same 
To whom you swore a secret pilgrimage, 
That you to-day promised to tell me of ? 

Bass. 'Tis not unknown to you, Antonio, 
How much I have disabled mine estate, 12 * 

By something showing a more swelling port 30 
Than my faint means would grant continuance : 
Nor do I now make moan to be abridged 
From such a noble rate ; but my chief care 

28 Paraphrase lines 95-102. 

29 i. e. "For what you have given me", viz. the lecture. 
80 Flourishing appearance. 



Scene I] THE MERCHANT OF VENICE 9 

Is to come fairly off from the great debts 125 

Wherein my time something too prodigal 

Hath left me gaged. 31 To you, Antonio, 

I owe the most, in money and in love, 

And from your love I have a warranty 

To unburden all my plots and purposes 130 

How to get clear of all the debts I owe. 

Ant. I pray you, good Bassanio, let me know it; 
And if it stand, as you yourself still do, 
Within the eye of honour, be assured, 
My purse, my person, my extremest means, 
Lie all unlocked to your occasions. 32 136 

Bass. In my school-days, 33 when I had lost one shaft, 
I shot his fellow of the self-same flight 
The self-same way with more advised watch, 
To find the other forth, and by adventuring both 140 
I oft found both : I urge this childhood proof, 
Because what follows is pure innocence. 
I owe you much, and, like a wilful youth, 
That which I owe is lost; but if you please 
To shoot another arrow that self 34 way 145 

Which you did shoot the first, I do not doubt, 
As I will watch the aim, or to find both 
Or bring your latter hazard back again 
And thankfully rest debtor for the first. 

81 Bound. 

82 Paraphrase the line. 

88 The reference is to the custom in the England of Shakes^ 
peare's day of training school boys to shoot with the long bow, 
84 Give the meaning of this word. 



10 THE MERCHANT OF VENICE [Act I 

Ant. You know me well, and herein spend but time 150 
To wind about my love with circumstance; 35 
And out of doubt you do me now more wrong. 
In making question of my uttermost 
Than if you had made waste of all I have : 
Then do but say to me what I should do ir ' 5 

That in your knowledge may by me be done, 
And I am prest unto it: therefore, speak. 

Bass. In Belmont 30 is a lady richly left; 
And she is fair and, fairer than that word, 
Of wondrous virtues: sometimes from her eyes 10 ° 

I did receive fair speechless messages : 
Her name is Portia, nothing undervalued 
To Cato's daughter, Brutus' Portia : 37 
Nor is the wide world ignorant of her worth, 
For the four winds blow in from every coast 165 

Eenowned suitors ; and her sunny locks 
Hang on her temples like a golden fleece; 
Which makes her seat .of Belmont Coldics' strand. 3S 
And many Jasons 39 come in quest of her. 
my Antonio, had I but the means 170 

35 i. e. To be so long in coming to the point. 

36 This name is taken from the novel of fe'er Giovanni in 
which the city is represented as a seaport on the coast of 
Dalmatia; Shakespeare makes it a suburb of Venice on the 
mainland. 

37 The wife of the younger Brutus, well known as one of 
the characters in Shakespeare's "Julius Caesar". 

38 A land in the far East whither, according te the old Greek 
myth, the Argonauts sailed in search of the Golden Fleece. 

39 The chief of the Argonauts. Consult the Classical Dic- 
tionary for the entire story. 



Scene II] THE MERCHANT OF VENICE 11 

To hold a rival place with one of them, 
I have a mind presages me such thrift, 40 
That I should questionless be fortunate ! 

Ant. Thou know'st that all my fortunes are at sea ; 
Neither have I money nor commodity 175 

To raise a present sum : therefore go forth ; 
Try what my credit can in Venice do : 
That shall be racked, even to the uttermost, 
To furnish thee to Belmont, to fair Portia. 
Go, presently inquire, and so will I, 18 ° 

Where money is ; and I no question make. 
To have it of my trust or for my sake. 41 [Exeunt 

49 Prosperity. 

41 i. e. Either as a loan or as a favor. 



SCENE-SETTING. 

ACT I.— SCENE II— BELMONT.— A ROOM IN PORTIA'S 
HOUSE. 

Note. This scene introduces the heroine of the story: 
mentions casually the device of the caskets and the situa- 
tion arising" therefrom ; and reveals Portia's attitude 
towards her suitors. 

(1). Setting of the Scene. 

Portia's boudoir — a small room hung* with, rich 
tapestry ; frescoed ceiling ; tiled floor, partly covered with 
a soft rug ; fireplace with carved mantel. The furniture 
consists of a sofa piled high with cushions, two or three 
leather armchairs, footstools, work table, etc. 



12 THE MERCHANT OF VENICE [Act I 

The curtain rising, shows Portia, half reclining- on 
the sofa with Nerissa, comfortably seated in an armchair 
near by. 

(2). Actors. 

Portia, the heiress of Belmont. 

Nerissa, Portia's waiting gentlewoman. 

A serving man. 
(3). Costumes. 

Portia wears a loose white gown with long, close- 
fitting sleeves ; her hair, confined by a plain gold band 
about the forehead, falls loosely over her shoulders ; she 
wears a gold chain with a locket, rings, and other jewelry. 

Nerissa's gown is gray with trimmings of black 
embroidery ; her hair is confined under a lace cap, which 
covers the top and back of her head. She wears no jewelry, 
except a few rings. 

The serving man, a young page, wears doublet, 
trunk hose, hose and shoes — all white. 

(4). Time of Action. Simultaneous with Scene I. 



Scene II. Belmont. A room in Portia's house. 
Enter Portia and Nerissa. 

For. By my troth 1 , Nerissa, my little body is aweary 
of this great world. 

Ner. You would be, sweet madam, if your miseries 
were in the same abundance as your good fortunes are : 
and yet, for aught I see, they are as sick that surfeit 
with too much as they that starve with nothing. It is 
no mean happiness, therefore, to be seated in the mean : 

1 i. e. As I speak truthfully. 



Scene II] THE MERCHANT OF VENICE 13 

superfluity comes sooner by white hairs, but competency 
lives longer. 2 

Por. Good sentences and well pronounced. 10 

Ner. They would be better, if well followed. 

Por. If to do were as easy as to know what were 
good to do, chapels had been churches and poor men's 
cottages princes' palaces. It is a good divine that fol- 
lows his own instructions : I can easier teach twenty 
what were good to be done, than be one of the twenty 
to follow mine own teaching. The brain may devise laws 
for the blood, but a hot temper leaps o'er a cold decree : 
such a hare is madness the youth, to skip o'er the 
meshes of good counsel the cripple. 3 But this reasoning 
is not in the fashion to choose me a husband. me, the 
word choose ! I may neither choose whom I would nor 
refuse whom I dislike ; so is the will of a living daughter 
curbed by the will of a dead father. Is it not hard,. 
Nerissa, that I cannot choose one nor refuse none? 

Ner. Your father was ever virtuous; and holy men 
at their death have good inspirations : therefore the lot- 
tery, that he hath devised in these three chests of gold, 
silver and lead, whereof who chooses his meaning 
chooses you, will, no doubt, never be chosen by any 
rightly but one who you shall rightly love. But what 
warmth is there in your affection towards any of these 
princely suitors that are already come? 34 

Por. I pray thee, over-name them; and as thou 

2 Put Nerissa's lines into your own words. 
8 Notice and explain the figure of speech. 



14 THE MERCHANT OF VENICE [Act I 

namest them, I will describe them; and, according to 
my description, level at my affection. 4 

Ner. First, there is the Neapolitan prince. 

Por. Ay, that's a colt 5 indeed, for he doth nothing 
but talk of his horse; and he makes it a great appro- 
priation to his own good parts, that he can shoe him 
himself. 

Ner. Then there is the County 6 Palatine. 7 

Por. He doth nothing but frown, as who should say 
"If you will not have me, choose :" he hears merry tales 
and smiles not : I fear he will prove the weeping philos- 
opher 8 when he grows old, being so full of unmannerly 
sadness in his youth. I had rather be married to a 
death's-head with a bone in his mouth 9 than to either of 
these. God defend me from these two ! 51 

Ner. How say you by the French lord, Monsieur Le 
Bon? 

Por. God made him, and therefore let him pass for 
a man. In truth, I know it is a sin to be a mocker; but. 
he ! why, he hath a horse better than the Neapolitan's, 
a better bad habit of frowning than the Count Palatine : 

4 Explain this sentence. 

A headstrong- young man. The pun lies in the fact that 
the Neapolitan nobles of Shakespeare's time prided themselves 
upon their horsemanship. 

6 Count. Shakespeare frequently makes this title a two 
syllabled word. 

7 A Count Palatine was a nobleman who had the right of 
administrating justice on his own estates, like a reigning 
prince. 

8 Consult the Classical Dictionary under "Heraclitus." 

9 The familiar "memento mori"; 



Scene II] THE MERCHANT OF VENICE 15 

lie is every man in no man; if a throstle 10 sing, he falls 
straight a capering ; he will fence with his own shadow : 
if I should marry him, I should marry twenty husbands. 
If he would despise me, I would forgive him, for if he 
love me to madness, I shall never requite him. 

Ner. What say you, then, to Falconbriclge, the young 
baron of England. 65 

Por. You know I say nothing to him, for he under- 
stands not me, 11 nor I him: he hath neither Latin, 
French, nor Italian, and you will come into the court 
and swear that I have a poor pennyworth 12 in the Eng- 
lish. He is a proper man's picture, 13 but, alas, who can 
converse with a dumb-show? How oddly he is suited! 14 
I think he bought his doublet 15 in Italy, his round 
hose 16 in France, his bonnet in Germany and his be- 
haviour every where. 

Ner. What think you of the Scottish lord, his neigh- 
bour? 76 

Por. That he hath a neighbourly charity in him, for 
he borrowed a box of the ear of the Englishman and 
swore he would pay him again when he was able : I 

10 Thrush or any hedge bird. 

11 The ability to converse in several languages has always 
been regarded as an unusual accomplishment among English 
speaking people, while on the continent of Europe it is merely 
a mark of ordinary education. 

12 i. e. My knowledge of English is not worth much. 

13 i. e. He looks like the man I want. 
" Clothed. 

15 Sleeved waistcoat. 

18 Breeches; at this period worn short, full, and extrava- 
gantly ornamented. 



16 THE MERCHANT OF VENICE [Act I 

think the Frenchman became his surety and sealed un- 
der for another. 17 81 

Ner. How like you the young German, the Duke of 
Saxony's nephew ? 

For. Very vilely in the morning, when he is sober, 
and most vilely in the afternoon when he is drunk ; 
when he is best, he is a little worse than a man, and 
when he is worst, he is a little better than a beast; and 
the worst fall that ever fell, I hope I shall make shift 
to go without him. 18 89 

Ner. If he should offer to choose, and choose the 
right casket, you should refuse to perform your father's 
will, if you should refuse to accept him. 19 

Tor. Therefore, for fear of the worst, I pray thee, 
set a deep glass of Rhenish wine on the contrary casket, 
for if the Devil be within and that temptation without, 
I know he will choose it. I will do anything, Nerissa, 
ere I'll be married to a sponge. 20 

Ner. You need not fear, lady, the having any of 



17 The meaning of this passage is as follows: — The Scottish 
lord has received an affront (box of the ear) from the Eng- 
lishman, which he does not resent now, but has sworn to 
repay when he shall be able. The Frenchman has signed the 
bond with him (sealed under) that he will give as good as 
he has received (another). The allusion is to the wars be- 
tween England and Scotland in which the Scots were sup- 
ported by promises of French assistance. 

18 Put the stress on the last word of the sentence. 

19 Rewrite the paragraph changing the auxiliary verbs to 
accord with modern usage. 

20 The Germans of Shakespeare's time regarded the ability 
to drink long and heavily a mark of manliness. 



Scene II] THE MERCHANT OF VENICE 17 

these lords: they have acquainted me with their deter- 
minations ; which is, indeed, to return to their home and 
to trouble you with no more suit, unless you may be 
won by some other sort than your father's imposition 
depending on the caskets. 

Por. If I live to be as old as Sibylla, 21 I will die as 
chaste as Diana, 21 unless I be obtained by the manner 
of my father's will. I am glad this parcel of wooers 
are so reasonable, for there is not one among them but 
I dote on his very absence, and I pray God grant them 
a fair departure. 109 

Ner. Do you not remember, lady, in your father's 
time, a Venetian, a scholar and a soldier, that came 
hither in company of the Marquis of Montferrat? 

Por. Yes, yes, 22 it was Bassanio, — as I think, so was 
he called. 114 

Ner. True, madam : he, of all the men that ever my 
foolish eyes looked upon, was the best deserving a fair 
lady. 

Por. I remember him well, and I remember him 
worthy of thy praise. 119 

Enter a Serving-Man. 

How now ! What news ? 

Serv. The four strangers seek for you, madam, to 
take their leave: and there is a forerunner come from 



21 Consult the Classical Dictionary. 

22 Note the change in Portia's manner. 



18 THE MERCHANT OF VENICE [Act I 

a fifth, the Prince of Morocco, 23 who brings word the 
Prince his master will be here to-night. 

Por. If I could bid the fifth 24 welcome with so good 
a heart as I can bid the other four farewell, I should 
be glad of his approach: if he had the condition of a 
saint and the complexion of a devil, I had rather he 
should shrive me than wive me. 25 

Come, Nerissa. Sirrah, go before. 13 ° 

While we shut the gates upon one wooer, another 

knocks at the door. [Exeunt. 



SCENE-SETTING. 

ACT I.— SCENE III.— A STREET. 

Note. This is the famous "Bond Scene", one of the four 
great scenes of the MERCHANT OF VENICE. It opens up 
the plot ; discloses Shylock's scheme of revenge ; reveals 
the theme of the drama ; and delineates the characters of 
the two chief actors in the play. 
(1). Setting of the Scene. 

A street as in Act I, Scene 1. 
(2). Actors. 

Shylock, a Hebrew money lender. 
Bassanio & Antonio. 
(3). Costumes. 

Slit/lock, a man of sixty years, with reddish gray 
hair and long, shaggy beard, enters the scene leaning on a 

28 He is represented as an African negro. Many such served 
the Venetian state as allies or mercenaries. 

34 How many suitors have really been mentioned? 

28 i. e. He may have all the qualities (condition) of a saint; 
he certainly has the complexion of a devil; and, at any rate, 
I would prefer him as a Father Confessor rather than as a 
husband. 



Scene III] THE MERCHANT OF VENICE 19 

knotted staff. He wears a long* silk gown, dark green in 
color with a brown border. Over the gown is the gaber- 
dine, a long, sleeveless, hooded cloak, extending to the 
knees, but open and thrown back in front. The cloak is 
brown, with hood and linings of green. Pointed shoes of 
red leather, a leather pouch suspended from* a girdle, and 
a red skull-cap complete the costume. 

Antonio is a man of forty-five years, smooth 
shaven, with a haughty expression and bearing. His gown 
is of rich red silk open at the neck and showing the yellow 
doublet underneath. Over the gown is thrown a light, 
brown cloak covering the shoulders. Red pointed shoes 
and a green skull cap complete the costume. Like Shylock, 
Antonio carries a staff. 

Bassanio is a man under thirty years of age. He 
wears a doublet, trunk hose, and stockings — all of crim- 
son embroidered with gold ; his shoes are red ; a dagger 
hangs from a jewelled belt ; a long black cloak falls over 
his shoulders ; his hair is long- and heavy. On his head 
he wears a high crowned hat with a narrow rim. 
(4). Time of Action. 

The day following the action of Scenes 1 & 2. 

Scene III. Venice. A public place. 
Enter Bassanio and Shylock. 
Shy. Three thousand ducats; 1 well. 2 
Bass. Ay, sir, for three months.' 
Shy. For three months; well. 

Bass. For the which, as I told you, Antonio shall 
be bound. 3 5 

1 Intended to convey the idea of an indefinitely large sum; 
in reality, not more than eight thousand dollars in our money. 

2 "I understand you thus far". 

3 Become responsible for repayment. 



20 THE MERCHANT OF VENICE [Act I 

Shy. Antonio shall become bound; well. 

Bass. May you stead 4 me? will you pleasure 5 me? 
shall I know your answer? 

Shy. Three thousand ducats for three months and 
Antonio bound. 10 

Bass. Your answer to that. 

Shy. Antonio is a good man. 6 

Bass. Have you heard any imputation to the con- 
trary? 14 

Shy. Oh, no, no, no, no; my meaning in saying he 
is a good man is to have you understand me that he 
is sufficient. 7 Yet his means are in supposition: 8 he 
hath an argosy bound to Tripolis, 9 another to the In- 
dies; 10 I understand, moreover, upon the Eialto, he hath 
a third at Mexico, a fourth for England, and other ven- 
tures he hath, squandered 11 abroad. But ships are but 
boards, sailors but men: there be land-rats and water- 
rats, water-thieves and land-thieves, I mean pirates, 
and then there is the peril of waters, winds and rocks. 



4 Assist me. 

6 Meet my wishes. 

6 Shylock uses the expression technically; Bassanio affects 
to misunderstand him. 

7 Able to perform his contract. 

8 Dependent on circumstances. 

9 On the coast of Syria. 

10 The East Indies, around the Cape of Good Hope. In in- 
cluding the Indies and Mexico, Shakespeare confounds the 
voyages of the Venetians with those of the Portuguese and 
Spaniards. 

11 Scattered. 



Scene III] THE MERCHANT OF VENICE 21 

The man is, notwithstanding, sufficient. Three thou- 
sand ducats; I think I may take his bond. 12 

Bass. Be assured you may. 13 

Shy. I will be assured I may; and, that I may be 
assured, I will bethink me. 14 May I speak with Anto- 
nio? 30 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork. 15 I will buy with you, sell 
with you, talk with you, walk with you, and so follow- 
ing; but I will not eat with you, drink with you, nor 
pray with you What news on the Bialto? 16 Who is he 
comes here? 36 

Enter Antonio. 

Bass. This is Signior Antonio. 

Shy. [Aside.] How like a fawning publican 17 he 
looks ! 
I hate him for he is a Christian, 
But more for that in low simplicity 18 
He lends out money gratis 19 and brings down 



12 i. e. "I suppose he will sign a bond for my security?" 

13 Bassanio's eagerness to make promises in the name of 
his friend arouses Shylock's suspicions. 

14 i. e. "I will make myself certain of this and, in doing so, 
will carefully scrutinize the proposed . transaction." 

15 Forbidden food to the Jews. 

16 The piazza of the Rialto, a small square surrounded by 
colonnaded walks — the meeting place of merchants and 
the center of the commercial life of the busy city. 

1T One who flatters the great and oppresses the poor. 

18 The depth of foolishness. 

19 Free of cost. 



22 THE MERCHANT OF VENICE [Act I 

The rate of usance 20 here with us in Venice. 

If I can catch him once upon the hip, 21 

I will feed fat the ancient grudge I bear him. 

He hates our sacred nation, and he rails, 45 

Even there where merchants most do congregate, 

On me, my bargains and my well-won thrift, 23 

Which he calls interest. 22 Cursed be my tribe, 24 

If I forgive him ! 

Bass. Shylock, do your hear? 

Shy. I am debating of my present store, 50 

And, by the near guess of my memory, 
I cannot instantly raise up the gross 25 
Of full three thousand ducats. What of that? 
Tubal, a wealthy Hebrew of my tribe, 
Will furnish me. But soft ! how many months 55 

Do you desire? [To Ant.] Eest you fair, good signior; 
Your worship was the last man in our mouths. 

Ant. Sh)dock, although I neither lend nor borrow 
By taking nor by giving of excess, 26 
Yet, to supply the ripe 27 wants of my friend, 60 

I'll break a custom. — Is he yet possessed 

Note. The business conversation is in prose; with the en- 
trance of Antonio the style changes. 

20 Rate of interest. 

21 An expression used by wrestlers. 

22 Compare our use of the words "usury" and "interest" with 
Shakespeare's use of them. 

23 Gains, savings. 

24 Kindred. 

28 Entire sum. 

26 A greater amount than the principal sum. 

27 Requiring immediate attention. 



Scene III] THE MERCHANT OF VENICE 23 

How much you would ? 2S 

Shy. Ay, ay, three thousand ducats. 

Ant. And for three months. 

Shy. I had forgot; three months; you told me so. 65 
Well then, your bond ; and let me see ; but hear you ; 
Methought you said you neither lend nor borrow 
Upon advantage. 

Ant. I do never use it. 

Shy. Three thousand ducats; 'tis a good round sum. 
Three months from twelve; then, let me see; the 
rate— 29 70 

Ant. Well, Shylock, shall we be beholding 30 to you ? 

Shy. Signior Antonio, many a time and oft 
In the Eialto you have rated me 
About my moneys and my usances : 
Still have I borne it with a patient shrug, 75 

For sufferance is the badge of all our tribe. 
You call me misbeliever, cut- throat dog, 31 
And spit upon my Jewish gaberdine, 
And all for use of that which is mine own. 
Well then, it now appears you need my help : 80 

Gro to, then; you come to me, and you say 
"Shylock, we would have moneys :" you say so ; 
You, that did void your rheum 32 upon my beard 

23 This to Bassanio: — "Is he informed how much you re- 
quire?" 

29 Shylock is mentally reckoning the interest for a year and 
dividing it by four. 

3I » Beholden, i. e. In your debt. 

31 A sheep-killing dog, the meanest of curs. 

82 This repeats the idea of "spit upon", used above. 



24 THE MERCHANT OF VENICE [Act I 

And foot me as you spurn a stranger cur. 

Over your threshold : moneys is your suit. 85 

What should I say to you ? Should I not say 

"Hath a dog money? is it possible 

A cur can lend three thousand ducats ?" Or 

Shall I bend low and in a bondman's key, 

With bated breath and whispering humbleness, 90 

Say this; 

"Fair sir, you spit on me on Wednesday last; 

You spurned me such a day ; another time 

You called me dog; and for these courtesies 

I'll lend you thus much moneys"? 9S 

Ant. I am as like to call thee so again, 
To spit on thee again, to spurn thee too. 33 
If thou wilt lend this money, lend it not 
As to thy friends; 34 for when did friendship take 
A breed for barren metal of his friend ? loe 

But lend it rather to thine enemy, 
Who, if he break, thou mayst with better face 
Exact the penalty. 

Shy. Why, look you, how you storm ! 

I would be friends with you and have your love 
Forget the shames that you have stained me with, ,05 
Supply your present wants and take no doit 
Of usance for my moneys, and you'll not hear me : 
This is kind I offer. 



•* See Note 10. Outline Study. 

84 Antonio makes the point that his request for a loan is a 
mere matter of business. 



Scene III] THE MERCHANT OF VENICE 25 

Bass. This were kindness 

Shy. This kindness will I show. 

Go with me to a notary, seal me there 
Your single bond; and, in a merry sport, 35 lie 

If you repay me not on such a day, 
In such a place, such sum or sums as are 
Expressed in the condition, let the forfeit 
Be nominated for an equal pound 
Of your fair flesh, to be cut off and taken 115 

In what part of your body pleaseth me. 

Ant. Content, i' faith : I'll seal to such a bond 
And say there is much kindness in the Jew. 

Bass. You shall not seal to such a bond for me : 
I'll rather dwell in my necessity. 12 * 

Ant. Why, fear not, man; I will not forfeit it: 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 

Shy. father Abram, what these Christians are, 12S 
Whose own hard dealings teaches them suspect 
The thoughts of others ! Pray you, tell me this ; 
If he should break his day, what should I gain 
By the exaction of the forfeiture? 

A pound of man's flesh taken from a man 1SC 

Is not so estimable, profitable neither, 
As flesh of muttons, beefs, or goats. I say, 

35 As no circumstances could be imagined Which would have 
compelled Antonio to sign such a bond as Shylock proposed, 
the dramatist adopted the expedient of making him sign the 
bond in jest. 



26 THE MERHCANT OF VENICE [Act II 

To buy his favour, I extend this friendship : 

If he will take it, so ; if not, adieu ; 

And, for my love, 36 I pray you wrong me not. 135 

Ant. Yes, Shylock, I will seal unto this bond. 

Shy. Then meet me forthwith at the notary's : 
Give him direction for this merry bond, 
And I will go and purse the ducats straight. 
See to my house, left in the fearful 37 guard ,4 ° 

Of an unthrifty knave, and presently 
I will be with you. 

Ant. Hie thee, gentle Jew. 

[Exit Shylock. 
The Hebrew will turn Christian : he grows kind. 

Bass. I like not fair terms and a villain's mind. 

Ant. Come on: in this there can be no dismay; 145 
My ships come home a month before the day. 

[Exeunt, 

86 i. e. "Do not make my proffer of friendliness ground for 
suspicion." 
ST Note the meaning of the word. 



SCENE-SETTING. 
ACT II.— SCENE I.— BELMONT. 

Note. This short scene of which scene vii, is the con- 
clusion, introduces the Prince of Morocco and further ex- 
plains the device of the caskets by stating the penalty for 
wrong choice. It seems to be inserted here in order that 
Portia may not be out of the action for too long a time. 

(1). Setting of the Scene. 
The reception room of Portia's palace, a long narrow 



Scene III] THE MERCHANT OF VENICE 27 

room with vaulted ceiling- brightly frescoed, and with a 
mosaic floor ; the walls and pillars are of marble of varied 
colors ; the hangings are of heavy silk. At one end of the 
hall is a large window looking out over a typical Venetian 
landscape ; in front of this window is a large, leather- 
covered arm chair, elaborately carved, in which Portia 
sits with Nerissa and her other attendants grouped be- 
hind her. The Prince enters from the opposite end of the 
room, and Portia rises to meet him. 
(2). Actors. 

Portia. 

The Prince of Morocco, one of Portia's suitors. 

Nerissa. 

Attendants of Portia and of the Prince of Morocco. 
(3). Costumes. 

Portia's gown is of cream colored silk with a long 
train, and with ruffles of rich lace at throat and wrists; 
from her elaborate coiffure hangs a long veil of silk gauze 
threaded with gold ; she wears a gold chain and locket, 
earrings, jewelled hair ornaments, and a number of rings. 

Nerissa is dressed as in Act I, scene ii. 

Portia's attendants are dressed as Nerissa, but 
their gowns are of simpler fabric. 

The Prince of Morocco wears a white cotton gown, 
with sash of purple and gold silk and full sleeves; full 
Turkish trousers of red cotton; yellow slippers upon his 
bare feet ; across his breast a sword belt from which hangs 
a curved sword in a scabbard, both sword and scabbard 
covered with jewels ; his head is covered with a turban of 
spotless white cotton fastened by a diamond studded clasp. 

The Attendants wear gowns, trousers, and turbans 
of plain white cotton. 
(4). Time of Action. 

The day following the action of Act I, Scene ii. 






28 TEE MERCHANT OF VENICE [Act II 

ACT II. 

Scene I. Belmont. A room in Portia's house. 

Flourish of cornets. Enter the Prince of Morocco and his 
train, Portia, Nerissa, and others attending. 

Mor. Mislike me not for my complexion, 
The shadowed livery 1 of the burnished sun, 
To whom I am a neighbour and near bred. 
Bring me the fairest creature northward born, 
Where Phoebus' fire 2 scarce thaws the icicles, 
And let us make incision for your love, 
To prove whose blood is reddest, his or mine. 
I tell thee, lady, this aspect 3 of mine 
Hath feared 4 the valiant : by my love, I swear 
The best-regarded virgins of our clime 10 

Have loved it too : I would not change this hue, 
Except to steal your thoughts, my gentle queen. 5 

For. In terms of choice I am not solely led 
By nice direction of a maiden's eyes; 6 
Besides, the lottery of my destiny 7 1B 

1 Explain the metaphor. 

2 The sun. 

3 Face. 

4 Made afraid. 

8 Paraphrase this line. 

e i. e. The fine distinctions of manner and appearance which 
ordinarily influence a maiden. 
7 The device of the caskets. 



Scene I] THE MERCHANT OF VENICE 29 

Bars me the right of voluntary choosing: 

But if my father had not scanted me 

And hedged me by his wit, to yield myself 

His wife who wins me by that means I told you, 

Yourself, renowned Prince, then stood as fair. 20 

As any comer I have looked on yet 

For my affection. 

Mot. Even for that I thank you : 

Therefore, I pray you, lead me to the caskets 
To try my fortune. By this scimitar 8 
That slew the Sophy 9 and a Persian prince 25 

That won three fields of Sultan Solyman, 10 
I would outstare the sternest eyes that look, 
Outbrave the heart most daring on the earth, 
Pluck the young suckling cubs from the she-bear, 
Yea, mock the lion when he roars for prey, 30 

To win thee, lady. But, alas the while ! 
If Hercules and Lichas play at dice 11 
Which is the better man, the greater throw 
May turn by fortune from the weaker hand : 
So is Alcides 12 beaten by his page; 35 

And so. may I, blind fortune leading me, 
Miss that which one unworthier may attain, 
And die with grieving. 

8 The Oriental curved sword. 

9 A title of the Persian Emperor. 

10 The Turkish Emperor. 

11 For the story of Hercules and Lichas, consult the Classical 
Dictionary. 

12 Hercules. 



30 THE MERCHANT OF VENICE [Act II 

For. You must take your chance, 

And either not attempt to choose at all, 
Or swear before you choose, if you choose wrong, 40 

Never to speak to lady afterward 
In way of marriage : therefore be advised. 

Mor. Nor will not. Come, bring me unto my chance. 

For. First, forward to the temple : 13 after dinner 
Your hazard shall be made. 

Mor. Good fortune then! 45 

To make me blest or cursed'st among men. 

[Cornets, and exeunt. 

13 To the chapel where the oath was to be taken. 



SCENE-SETTING. 
ACT II.— SCENE II.— A STREET. 

Note. This humorous scene helps to brighten the drama, 
brings Bassanio with the minor characters of the play be- 
fore the reader, and further reveals the character of Shy- 
lock by showing his behaviour to his dependents. 

(1). Setting of the Seene. 

A street, in front of Shylock's house. — The street 
is roughly paved with red brick ; the house, which forms 
the back of the scene, is a two-storied brick structure, the 
lower story painted green, the upper story yellow ; the 
street door open on a balcony at the top of a short flight 
of stone steps, at the foot of which Launcelot lounges. The 
windows in the lower story are narrow slits in the- brick 
work, each barred by iron grill work inside; in the second 
story are several arched windows in a cluster fitted with 
tightly closed latticed shutters. 



Scene II] TUB MERCHANT OF VENICE 31 

(2). Actors. 

Bassanio. 

Gratiano, Bassanio's friend and companion. 

Leonardo, Bassanio's servant. 

Launcelot Gobbo, Shylock's servant and the clown 
in the drama. 

Old Gobbo, father of Launcelot — an old peasant. 
(3). Costumes. 

Bassanio wears the costume of Act I, scene iii. 

Gratiano wears a plain costume of similar cut. 

Leonardo wears a servant's livery — a tight-fitting 
doublet of scarlet trimmed with green braid and buttons ; 
tight fitting breeches of the same material ; white stock- 
ings ; black shoes ; skull cap worn over long hair. 

Launcelot Gobbo wears a coarse gray jacket belted 
at the waist ; breeches ; worsted stockings ; heavy shoes 
tied with twine ; a high cap with narrow brim. 

Old Gobbo, a tottering old man, is dressed like his 
son with the addition of a long cloak ; he leans on a staff 
and carries a basket. 

(4). Time of the Action. 

The same day as Act II, scene i. 

Scene IT. Venice. A street. 
Enter Launcelot. 

Laun. Certainly my conscience will serve me to run 
from this Jew my master. The fiend is at mine elbow 
and tempts me, saying to me "Gobbo, Launcelot Gobbo, 
good Launcelot," or "good Gobbo," or "good Launcelot 
Gobbo, use your legs, take the start, run away." My 
conscience says "No : take heed, honest Launcelot ; take 
heed, honest Gobbo," or, as aforesaid, "honest Launcelot 



32 THE MERCHANT OF VENICE [Act II 

Gobbo; do not run; scorn running with thy heels." 
Well, the most courageous fiend bids me pack : "Via 1 !" 
says the fiend ; "away \" says the fiend ; "for the heavens, 
rouse up a brave mind," says the fiend, "and run." Well, 
my conscience, hanging about the neck of my heart, says 
very wisely to me, "Launcelot, budge not." 

"Budge," says the fiend. "Budge not," says my con- 
science. "Conscience," say I, "you counsel well;" 
"Fiend," say I, "you counsel well :" to be ruled by my 
conscience, I should stay with the Jew my master, who, 
God bless the mark, 2 is a kind of devil; and, to run 
away from the Jew, I should be ruled by the 
fiend, who, saving your reverence, 3 is the Devil himself. 
Certainly the Jew is the very devil incarnation ; 4 and, in 
my conscience, my conscience is but a kind of hard con- 
science, to offer to counsel me to stay with the Jew. The 
fiend gives the more friendly counsel : I will run, fiend ; 
my heels are at your command; I will run. 

Gob. Master young man, you, I pray you, which is 
the way to master Jew's? 27 

Laun. [Aside.'] heavens, this is my true-be-gotten 
father! who, being more than sand-blind, 5 high-gravel 
blind, knows me not: I will try confusions with him. 

1 Away. 

2 An expression frequently used by old writers and public 
speakers. It has the force of "I mean just what I say". 

3 An apology for the use of an improper expression. 

4 What does Launcelot mean to say here? 

5 "Sand-blind" means dim-sighted; "stone-blind" moans 
entirely blind; Launcelot invents a medium degree which he 
calls "gravel-blind". 



Scene II] THE MERCHANT OF VENICE 33 

Gob. Master young gentleman, I pray you, which is 
the way to master Jew's ? 38 

Laun. Turn up on your right hand at the next 
turning, but at the next turning of all, on your left; 
marry at the very next turning, turn of no hand, but 
turn down indirectly to the Jew's house. 

Gob. By God's sonties, 6 'twill be a hard way to 
hit. Can you tell me whether one Launcelot, that 
dwells with him, dwell with him or no ? 43 

Laun. Talk you of young Master Launcelot? 
[Aside.'] Mark me now; now will I raise the waters. 7 
Talk you of young Master 8 Launcelot? 

Gob. No master, sir, but a poor man's son; his 
father, though I say 't, is an honest exceeding poor man 
and, God be thanked, well to live. 9 

Laun. Well, let his father be what a will, we talk 
of young Master Launcelot. 50 

Gob. Your worship's friend and Launcelot, sir. 10 

Laun. But I pray you, ergo, 11 old man, ergo, I be- 
seech you, talk you of young Master Launcelot. 

Gob. Of Launcelot, an't please your mastership. 12 



8 Sanctity, i. e. By the holiness of God. 

7 What does Launcelot mean by this expression? 

8 A title implying middle class condition, as "sir" implied 
high rank. 

9 i. e. Likely to live long. 

10 i. e. "I am sorry to contradict your worship, but I said 
plain 'Launcelot' ". 

11 Therefore or because, i. e. "Therefore, as you have said 
we do not wish to quarrel, please say 'Master Launcelot' ". 

12 Like "worship", a mere complimentary address. 



34 THE MERCHANT OF VENICE [Act II 

Laun. Ergo, Master Launcelot. 13 Talk not of Mas- 55 
ter Launcelot, father; for the young gentleman, ac- 
cording to Fates and Destinies and such odd sayings, 
the Sisters Three 14 and such branches of learning, is 
indeed deceased, or, as you would say in plain terms, 
gone to heaven. 

Gob. Marry, God forbid! the boy was the very staff 
of my age, my very prop. 63 

Laun. Do I look like a cudgel or a hovel-post, a staff 
or a prop ? Do you know me, father ? 

Go b. Alack the day, I know you not, young gentle- 
man; but I pray you, tell me, is my boy, God rest his 
soul, alive or dead? 

Laun. Do you not know me, father? 70 

Gob. Alack, sir, I am sand-blind ; I know you not. 

Laun. Nay, indeed, if you had your eyes, you might 
fail of the knowing me : it is a wise father that knows 
his own child. Well, old man, I will tell you news of your 
son: give me your blessing: truth will come to light; 
murder cannot be hid long ; a man's son may, but at the 
length truth will out. 

Gob. Pray you, sir, stand up : I am sure you are not 
Launcelot, my boy. 79 

Laun. Pray you, let's have no more fooling about 
it, but give me your blessing : I am Launcelot, your boy 
that was, your son that is, your child that shall be. 

13 i. e. "You have spoken of my mastership, therefore you 
have said 'Master Launcelot' ". 

14 The three Fates. Consult the Classical Dictionary. 



Scene II] THE MERCHANT OF VENICE 35 

Gob. I cannot think you are my son. 

Laun. I know not what I shall think of that: but 
I am Launcelot, the Jew's man, and I am sure Margery 
your wife is my mother. 

Gob. Her name is Margery, indeed: I'll be sworn, 
if thou 15 be Launcelot, thou art mine own flesh and 
blood. Lord worshipped might he be ! what a beard 
has thou got! thou has got more hair on thy chin than 
Dobbin my fill-horse 16 has on his tail. 91 

Laun. It should seem, then that Dobbin's tail grows 
backward : I am sure he had more hair of his tail than 
I have of my face when I last saw him. 

Gob. Lord, how art thou changed! How dost thou 
and thy master agree? I have brought him a present. 
How 'gree you now? 

Laun. Well, well : but, for mine own part, as I have 
set up my rest 17 to run away, so I will not rest till 1 
have run some ground. 18 My master's a very Jew; 19 
give him a present! give him a halter: I am famished 
in his service; you may tell every finger I have with 
my ribs. 20 Father, I am glad you are come: give me 
your present to one Master Bassanio, who, indeed, gives 

16 The respectful "you" is dropped when the old man recog- 
nizes his son. 

16 Thill horse, i. e. carriage horse. 

17 A gaming phrase for the stake or bet. Launcelot says, 
"I have risked my all on my resolution". 

18 Have gone somewhere. 

19 The very Jew of popular belief. 

M A clownish transposition of the words, "You may tell 
every rib I have with your finger." 



£6 THE MERCHANT OF VENICE [Act II 

rare new liveries : if I serve not him, I will rim as far 
as God has any ground. 21 Oh rare fortune! here comes 
the man: to him, 22 father; for I am a Jew, if I serve 
the Jew any longer. 

Enter Bassanio, with Leonardo and other followers. 

Bass. You may do so; but let it be so hasted that 
supper be ready at the farthest by five of the clock. See 
these letters delivered; put the liveries to making, and 
desire Gratiano to come anon to my lodging. 

[Exit a Servant. 

Laun. To him, father. 

Goo. God bless your worship ! 

Bass. Gramercy.! 23 wouldst thou aught with me? 

Goo. Here's my son, sir, a poor boy, — 

Laun. Not a poor boy, sir, but the rich Jew's man ; 115 
that would, sir, as my. father shall specify — 

Goo. He hath a great infection, sir, as one would say, 
to serve — 

Laun. Indeed, the short and the long is, I serve 
the Jew, and have a desire, as my father shall spe- 
cify— 12 ° 

Gob. His master and he, saving your worship's rev- 
erence, are scarce cater-cousins — 24 

Laun. To be brief, the very truth is that the Jew, 
having done me wrong, doth cause me, as my father, 
being, I hope, an old man, shall f ratify unto you — 125 

21 i. e. To the ends of the earth. 

22 Explain the ellipsis. 

23 An interjection denoting surprise. 

24 Intimate friends on a footing of relationship. 



Scene II] TEE MERCHANT OF VENICE 37 

Gob. I have here a dish of doves 25 that I would be- 
stow upon your worship, and my suit is — 

Laun. In very brief, the suit is impertinent 26 to my- 
self, as your worship shall know by this honest old 13 ° 
man; and, though I say it, though old man, yet poor 
man, my father. 

Bass. One speak for both. What would you? 

Laun. Serve you, sir. 

Goo. That is the very defect of the matter sir. 135 

Bass. I know thee well; thou hast obtained thy suit: 
Shylock thy master spoke with me this day, 
And hath preferred 27 thee, if it be preferment 27 
To leave a rich Jew's service, to become 
The follower of so poor a gentleman. 14 ° 

Laun. The old proverb 28 is very well parted between 
my master Shylock and you, sir: you have the grace 
of God, sir, and he hath enough. 29 

Bass. Thou speak'st it well. Go, father, with thy 
son. 
Take leave of thy old master and inquire 145 

My lodging out. Give him a livery 
More guarded 30 than his fellows' : see it clone. 

Laun. Father, in. I cannot get a service, no; I 



25 A pigeon pie. 

26 What word does Launcelot wish to use here? Describe 
the manner in which this conversation is conducted. 

27 Give the exact meaning of these words. 

28 "The grace of God is wealth enough". 

29 i. e. Wealth enough. 

** i. e. With broader and stouter facings. 



38 TEE MERCHANT OF VENICE [Act II 

have ne'er a tongue in my head. [Looks on his 
palm.] Well, if any man in Italy hath a fairer table, 31 
which doth offer to swear upon a book ! I shall have 
good fortune. Go to, here's a simple line of life: 
here's a small trifle of wives : alas, fifteen wives is 
nothing! eleven widows and nine maids is a simple 
coming-in for one man : and then to 'scape drowning 
thrice, and to be in peril of my life with the edge of a 
feather-bed; here are simple scapes. 32 Well, if For- 
tune be a woman, she's a good wench for this gear. 33 
Father, come; I'll take my leave of the Jew in the 
twinkling of an eye. [Exeunt Launcelot and old Gobbo. 

Bass. I pray thee, good Leonardo, think on this: 
These things being bought and orderly bestowed, 
Eeturn in haste, for I do feast to-night 
My best-esteemed acquaintance: hie thee, go. 

Leon. My best endeavours shall be done herein. 165 
Enter Gratiano. 

Gra. Where is your master? 

Leon. Yonder, sir, he walks. 

[Exit 

Gra. Signior Bassanio ! 

Bass. Gratiano ! 

Gra. I have a suit to you. 

31 The palm of the hand was so called in the jargon of the 
pretended science of palmistry. Certain markings or lines 
on the palm were supposed to indicate a prosperous or an 
adverse career, and other lines indicated marriages. 

32 Ironical. 

33 "A good girl for showing me such favor". 



Scene II] THE MERCHANT OF VENICE 39 

Bass. You have obtained it. 

Gra. You must not deny me : I must go with you to 
Belmont. 

Bass. Why, then you must. But hear thee, Gra- 
tiano ; 
Thou art too wild, too rude and bold of voice ; 
Parts that become thee happily enough 
And in such eyes as ours appear not faults; 175 

But where thou art not known, why, there they show 
Something too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit, lest through thy wild behaviour 
I be misconstrued in the place I go to 18 ° 

And lose my hopes. 

Gra. Signior Bassanio, hear me : 

If I do not put on a sober habit, 
Talk with respect and swear but now and then, 
Wear prayer-books in my pocket, look demurely, 
Nay more, while grace is saying, hood mine eyes 185 
Thus with my hat, and sigh and say Amen, 
Use all the observance of civility, 
Like one well studied in a sad ostent 34 
To please his grandam, never trust me more. 35 18n 

Bass. Well, we shall see you bearing. 

Gra. Nay, but I bar to-night: you shall not guage 
me 



84 An outward show of seriousness. 

35 Put into your own words the meaning conveyed by Bas- 
sanio's speech on conduct and Gratiano's reply. 



40 THE MERCHANT OF VENICE [Act II 

By what we do to-night. 

Bass. Well, we shall see your bearing. 
I would entreat you rather to put on 195 

Your boldest suit of mirth, 36 for we have friends 
That purpose merriment. But fare you well: 
I have some business. 

Gra. And I must to Lorenzo and the rest: 
But we will visit you at supper-time. [Exeunt. 

88 Paraphrase this expression. 



SCENE-SETTING. 
ACT II.— SCENE III.— A ROOM IN SHYLOCK'S HOUSE. 

Note. This short scene opens up the underplot of the 
drama. 

(1). Setting of the Scene. 

A room in Shylock's house communicating with 
the street. A long narrow room with stone walls and ceil- 
ing 1 , tiled floor, narrow windows high up in the wall se- 
cured by iron grill work. Everything is bare and cold; 
no furniture except one or two heavy, iron-bound chests. 
At one side of the scene is the street door of oak clamped 
with iron and fitted with sockets for heavy bars. 
(2). Actors. 

Launcclot, Bassanio's new servant. 
Jessica, the daughter of Shy loch. 
(3). Costumes. 

Launcelot is dressed as in Act II, Scene ii. 
Jessica wears a full skirt of figured silk, tight fit- 
ting bodice of the same material with full sleeves ; ruffles 
at neck and wrists. Her black hair is plaited at the back 
of her head and covered with a lace cap. 



Scene IIIJ THE MERCHANT OF VENICE 41 

(3). Time of the Action. 

The action of this scene follows immediately upon 
that of Act II, scene ii. 



Scene III. The same. A room in Shylock's house. 
Enter Jessica and Launcelot. 

Jes. I am sorry thou wilt leave my father so : 
Our house is hell, and thou, a merry devil, 
Didst rob it of some taste of tediousness. 1 
But fare thee well, there is a ducat for thee : 
And, Launcelot, soon at supper shalt thou see 5 

Lorenzo, who is thy new master's guest: 
Give him this letter; do it secretly; 
And so farewell : I would not have my father 
See me in talk with thee. 

Laun. Adieu ! tears exhibit my tongue. Most beau- 
tiful pagan, most sweet Jew ! These foolish drops do 
something drown my manly spirit: adieu. 

Jes. Farewell, good Launcelot. [Exit Launcelot. 
Alack, what heinous sin is it in me 
To be ashamed to be my father's child ! 
But though I am a daughter to his blood, 
I am not to his manners. Lorenzo, 
If thou keep promise, I shall end this strife, 
Become a Christian 2 and thy loving wife. 

1 Paraphrase the line. 

2 According to the ideas of Shakespeare's audience, Jessica's 
unfjlial conduct was fully atoned for by her conversion. 



42 THE MERCHANT OF VEX ICE [Ad TT 

SCENE-SETTING. 

ACT II.— SCENE IV.— A STREET. 

Note. This scene reveals the entire underplot. 
(1). Setting of the Scene. 

A street paved with red brick in herring-bone pat- 
tern ; in the distance is seen a canal with gondolas and 
mooring- posts; in the extreme background a church and 
other buildings rise beyond the canal. 
(2). Actors. 

Gratiano & Lorenzo. 
Salarino & Salanio. 
Launcelot. 
(3). Costumes. 

The gentlemen are dressed as in previous scenes. 
Lancelot wears an ill-fitting suit of livery like that 
of Leonardo in Act II, scene ii, which accentuates his 
loutish appearance. 
(4). Time of Action. 

Immediately following Act II, scene iii. 



Scene IV. The same. A street. 
Enter Gratiano, Lorenzo, Salarino, a nd Salanio. 

Lor. Xay, we will slink away in supper-time, 
Disguise us at my lodging and return, 
All in an hour. 

(Ira. We have not made good preparation. 

Salar. We have not spoke us 1 yet of torch-bearers. 

1 Bespoken, engaged. 



Scene IV] THE MERCHANT OF VENICE 43 

Solan. 'Tis vile, 2 unless it may be quaintly 3 or- 
dered, 
And better in my mind not undertook. 

Lor. 'Tis now but four o'clock : we have two hours 
To furnish us. 

Enter Launcelot, with a letter* 

Friend Launcelot what's the news? 9 
Laun. An it shall please you to break up this, 4 it 
shall seem to signify. 

Lor. I know the hand : in faith, 'tis a fair hand ;' 
And whiter than the paper it writ on 
Is the fair hand that writ. 

Ora. Love-news, in faith. 

Laun. By your leave, sir. 15 

Lor. Whither goest thou? 

Laun. Marry, sir, to bid my old master the Jew to 
sup to-night with my new master the Christian. 

Lor. Hold, here, take this: 5 tell gentle Jessica 
I will not fail her; speak it privately. [Exit Launcelot. 
Go, gentlemen, 21 

Will you prepare you for this masque to-night? 
I am provided of a torch-bearer. 6 

8 alar. Ay, marry, I'll be gone about it straight. 
Solan. And so will I. 

2 Common, i. e. not worth while. , 

3 With especial cleverness. 

4 Break the seal of the letter. 

5 He gives the servant money. 

6 To complete the idea supply, "I have an idea that will 
make the entertainment a success". 



44 THE MERCHANT OF VENICE [Act II 

Lor. Meet me and Gratiano 25 

At Gratiano's lodging some hour hence. 

Salar. Tis good we do so. [Exeunt Salter, and Sedan. 

Gra. Was not that letter from fair Jessica? 

Lor. I must needs tell thee all. 7 She hath directed 
How I shall take her from her father's house. 30 

What gold and jewels she is furnished with, 
What page's suits she hath in readiness. 
If e'er the Jew her father come to heaven, 
It will be for his gentle daughter's sake : 
And never dare misfortune cross her foot, 35 

Unless she s do it under this excuse, 
That she is issue to a faithless Jew. 
Come, go with me; peruse this as thou goest: 
Fair Jessica shall he nry torch-bearer. [Exeunt. 

7 Explain the plot so far as it concerns Jessica and Lorenzo. 
s What is the antecedent of this pronoun? 



SCENE SETTING. 

ACT II.— SCENE V.— A STKEET. 

Note. This scene gains the sympathy of reader and au- 
dience for Jessica in spite of her unfilial attitude and her 
unconventional conduct. 
(1). Setting of the Scene. 

The same scene as that of ACT II, Scene iii. 
Launcelot and Shylock meet in front of the street door 
which* Jessica cautiously opens. 
(2). Actors. 

Launcelot. 

Shylock. 

Jessica. 



Scene V] THE MERCHANT OF VENICE 45 

(3). Costumes. 

Launcelot is dressed as in Act II, scene iv. 

Shylock is dressed as in Act I, scene iii. 

Jessica is dressed as in Act II, scene iii. 
(4.) Time of Action. 

Immediately following- the action of Scene iv. 

Scene V. The same. Before Shylock's liouse. 
Enter Shylock and Launcelot. 

Shy. Well, thou shalt see, thy eyes shall be thy judge, 
The difference of 1 old Shylock and Bassanio : — 
What, Jessica ! — thou shalt not gormandise, 
As thou hast done with me : — What, Jessica ! — 
And sleep and snore, and rend apparel out; — 5 

Why, Jessica, I say ! 

Laun. Why, Jessica ! 

Shy. Who bids thee call ? I do not bid thee call. 

Laun. Your worship was wont to tell me that I 
could do nothing without bidding. 
Enter Jessica. 

Jcs. Call you? what is your will? 10 

Shy. I am bid forth to supper, Jessica: 
There are my keys. But wherefore should I go ? 
I am not bid for love ; they flatter me : 
But yet I'll go in hate, to feed upon 
The prodigal Christian, Jessica, my girl, 15 

Look to my house. I am right loath to go : 

1 Between. Shylock is speaking to Launcelot about the 
latter's new master. 



46 THE MERCHANT OF VENICE [Act II 

There is some ill a-brewing towards my rest, 
For I did dream of money-bags 2 to-night. 

Laun. I beseech you, sir, go : my young master doth 
expect your reproach. 3 20 

Shy. So do I his. 

Laun. An they have conspired together, I will not 
say you shall see a masque; but if you do, then it was 
not for nothing that my nose fell a-bleeding on Black- 
Monday last at six o'clock V the morning, falling 
out that year on Ash- Wednesday was four year, in the 
afternoon. 

Shy. What, are there masques? Hear you me, 
Jessica : 
Lock up my doors ; and when you hear the drum 
And the vile squealing of the wry-necked 5 fife, 30 

Clamber not you up to the casements then, 
Nor thrust your head into the public street 
To gaze on Christian fools with varnished faces, 6 
But stop my house's ears, I mean my casements : 
Let not the sound of shallow foppery enter " 5 

My sober house. By Jacob's staff, I swear, 7 
I have no mind of feasting forth to-night: 



2 The reference is to the superstition that dreams "go by 
contraries". 

* Shylock makes a grim jest at Launcelot's misuse of the 
word. 

* Easter Monday. The speech is nonsense. 

c Probably referring to the fact that a fifer does not look 
directly at the instrument he is playing as other musicians do. 

« What does Shylock mean? 

7 Genesis xxxll 10. This solemn oath seems to have been 
invented by Shakespeare. 



Scene V] THE MERCHANT OF VENICE 47 

But I will go. Go you before me, sirrah; 
Say I will come. 

Laun. I will go before, sir. Mistress, 8 look out at 
window, for all this; 41 

There will come a Christian by, 
Will be worth a Jewess' eye. [Exit. 

Shy. What says that fool of Hagar's 9 offspring, ha? 

Jes. His words were "Farewell mistress;" nothing- 
else. 

Shy. The patch 10 is kind enough, but a huge feeder; 
Snail-slow in profit, and he sleeps by day 
More than the wild-cat: 11 drones hive not with me; 
Therefore I part with him, and part with him 
To one that I would have him help to waste 50 

His borrowed purse. Well, Jessica, go in; 
Perhaps I will return immediately : 
Do as I bid you ; shut doors after you : 
Fast bind, fast find ; 
A proverb never stale in thrifty mind. [Exit. 

Jes. Farewell ; and if my fortune be not crost, 
I have a father, j^ou a daughter, lost. [Exit. 



8 This remark is made as Shylock turns away. 

9 Hagar was the bondwoman of Abraham the progenitor of 
the Hebrew race. 

10 A half-wit. 

11 The wild cat which makes its living in the night. 
Suggestion. From Scenes v & vi, state your opinion of 

Jessica's character. What revelations does this scene make 
as to Shylock's character? 



48 THE MERCHANT OF VENICE [Act II 

SCENE— SETTING. 
ACT II.— SCENE VI.— A STREET. 

Note. This scene practically completes the underplot. 
Jessica and Lorenzo elope and do not appear again until 
the play draws to a close. 

See Outline Study, Note 5, paragraph 2. 
(1). Setting of the Scene. 

The street of Act II, scene v. The balcony and 
steps form the "pent house" mentioned in line 1. The 
scene is dark except for a light shining through the lattice 
of one of the second story windows of Shylock's house ; 
Jessica appears at the window ; then joins Lorenzo at the 
street floor. 
(2). Actors. 

Gratiano, Salarino, Lorenzo. 

Antonio. 

Jessica. 
(3). Costumes. 

The young men wear painted half-masks covering 
the upper part of the face. They are in fancy dress for 
the masque ; Salarino carries a musical instrument. 

Jessica wears a page's dress similar to that already 
described in Act I, scene ii. Over her doublet and hose she 
wears a short cloak ; she, also, is masked. 

Antonio is dressed as in Act I, scene iii. 
(4.) Time of Action. 

Early evening of the da,y of Act II, scene v. 

Scene VI. The same. 
Enter Gratiano and Salarino, masqued. 
Gra. This is the pent-house under which Lorenzo 
desired us to make stand. 



Scene VI] THE MERCHANT OF VENICE 49 

Salar. His hour is almost past. 

Gra. And it is marvel he out-dwells 1 his hour, 
For lovers ever run before the clock. 2 

Salar. 0, ten times faster Venus' pigeons 3 fly 
To seal love's bonds new-made, than they are wont 
To keep obliged 4 faith unforfeited ! 

Gra. That ever holds : who riseth from a feast 
With that keen appetite that he sits dow r n? 
Where is the horse that doth untread 5 again 10 

His tedious measures with the unbated fire 
That he did pace them first? All things that are, 
Are with more spirit chased than enjoyed. 
How like a younker 6 or a prodigal 7 
The scarfed 8 bark puts from her native bay, 15 

Hugged and embraced by the fickle wind ! 
How like the prodigal doth she return, 
With over-weathered ribs and ragged sails, 
Lean, rent and beggared by the fickle wind ! 19 

Salar. Here comes Lorenzo : more of this hereafter. 

Enter Lorenzo. 



1 Overstays. 

2 Paraphrase. 

3 The doves which were said to draw the ear of Venus, the 
goddess of love. 

4 i. e. Faith bound by agreement. 
6 Retrace his steps. 

6 Care-free youth. 

7 To what is the reference? 

8 Decked with banners. Notice the use of the feminine pro- 
nouns although the simile has a young man for its basis. 



50 THE MERCHANT OF VENICE [Act II 

Lor. Sweet friends, your patience for my long 
abode ; 9 
Not I, but my affairs, have made you wait : 
When you shall please to play the thieves for wives, 10 
I'll watch as long for you then. Approach; 
Here dwells my father Jew. Ho ! who's within ? - 5 

Enter Jessica, above, in boy's clothes. 

Jes. Who are you ? Tell me, for more certainty, 
Albeit I'll swear that I do know your tongue. 

Lor. Lorenzo, and thy love. 

Jes. Lorenzo, certain, and my love indeed. 
For who love I so much? And now who knows 30 

But you, Lorenzo, whether I am yours ? 

Lor. Heaven and thy thoughts are witness that thou 
art. 

Jes. Here, catch this casket; it is worth the pains. 
I am glad His night, yet do not look on me, 
For I am much ashamed of my exchange : 35 

But love is blind and lovers cannot see 
The pretty follies that themselves commit; 
For if they could, Cupid himself would blush 
To see me thus transformed to a boy. 

Lor. Descend, for you must be my torch-bearer. 40 

Jes. What, must I hold a candle to my shames? 
They in themselves, good sooth, are too too 11 light. 



8 What is the meaning of this word? 

«> Explain the line. 

11 What is the force of the repetition? 



Scene VI] THE MERCHANT OF VENICE 51 

Why, His an office of discovery, love; 
And I should be obscured. 12 

Lor. So are you sweet, 

Even in the lovely garnish of a boy. 45 

But come at once ; 

For the close 13 night doth play the runaway, 
And we are stayed for 11 at Bassanio's feast. 

Jes. I will make fast the doors, and gild myself 15 
With some more ducats, and be with you straight. 50 

[Exit above. 

Gra. Now, by my hood, 16 a gentle 17 and no Jew. 

Lor. Beshrew me but I love her heartily; 
For she is wise, if I can judge of her, 
And fair she is, if that mine eyes be true, 
And true she is, as she hath proved herself, 55 

And therefore, like herself, wise, fair and true, 
Shall she be placed in my constant soul. 18 

Enter Jessica. 
What, art thou come ? On, gentlemen ; away ! 
Our masquing mates by this time for us stay. 

[Exit with Jessica and Salarino. 

12 i. e. I ought to be concealed. 

18 Secret. 

14 Waited for. 

16 Jessica must not be judged too harshly because of this 
speech. The reader understands that Jessica has been de- 
frauded by her father's parsimony and is merely helping 
herself to that which is her own. 

16 i. e. By my manhood. 

17 "A gentle", one of good breeding. Gratiano makes a pun 
on the word, rendering it "Gentile", i. e. one who is not a Jew. 

18 Some of the most beautiful lines in the drama are given 
to the minor character, Lorenzo. 



THE MERCHANT OF TEX ICE [Act II 

Enter Antonio. 
Ant. Who's there? 

Gra. Signior Antonio ! 

Ant. Fie, fie, Gratiano ! where are all the rest? 
Tis nine o'clock : our friends all stay for yon. 
No masque to-night: the wind is come about; 
Bassanio presently will go abroad : 65 

I have sent twenty out to seek for you. 

Gra. I am glad on ? t: I desire no more delight 
Than to be under sail and gone to-night, [Exeunt. 



SCENE— SETTING. 
ACT II.— SCENE VII.— BELMONT. 

Note. This scene still further explains the device of the 
caskets. These scenes, exhibiting the magnificence of Bel- 
mont, seem to have been scattered purposely through the 
play to relieve the monotony of the commonplace accesso- 
ries of the scenes in the mercantile city. 
(1). Setting of the Scene. 

A room in Portia's house, as in Act II, scene i. The 
caskets are in an alcove concealed by a curtain. The 
whole setting of the scene is more formal and elegant than 
in ACT II, scene i. 
(2). Actors. 

Portia & Xerissa. 
The Prince of Morocco. 
(3). Costumes. 

The costumes are the same as those of Act TI. 
scene i. 

(4). Time of Action. 

The afternoon of the day of Act II, scene i. 



Scene VII] THE MERCHANT OF VENICE 53 

Scene VII. Belmont. A room in Portia's house. 

Flourish of comets-. Enter Portia with the Prince of Mo- 
rocco, and their trains. 

For. Go draw aside the curtains and discover 
The several caskets to this noble prince. 
Now make your choice. 1 

Mor. The first, of gold, who 2 this inscription bears, 
"Who chooseth me shall gain what many men desire ;" 
The second, silver, which this promise carries, ° 

"Who chooseth me shall get as much as he deserves ;" 
This third, dull lead, with warning all as blunt, 
"Who chooseth me must give and hazard all lie hath." 
How shall I know if I do choose the right? 10 

For. The one of them contains my picture, Prince: 
If you choose that, then I am yours withal. 

Mor. Some god direct my judgement ! Let me see ; 
I will survey the inscriptions back again. 3 
What says this leaden casket 15 

"Who chooseth me must give and hazard all He hath." 
Must give : for what ? for lead ? hazard for lead ? 
This casket threatens. Men that hazard all 
Do it in hope of fair advantages : 
A golden mind stoops not to shows of dross ; 
I'll then nor give nor hazard aught for lead. 
What says the silver with her virgin hue? 

1 Portia speaks the first two lines to an attendant; the third, 
to the Prince of Morocco. 

2 Comment on the use of the relative pronoun. 

3 From what follows, explain these words. 



54 THE MERCHANT OF VENICE [Act II 

"Who chooseth me shall get as much as he deserves." 

As much as he deserves! Pause there, Morocco, 

And weigh thy value with an even hand : 25 

If thou be'st rated by thy estimation, 

Thou dost deserve enough ; and yet enough 

May not extend so far as to the lady: 

And yet to be afeard of my deserving 

Were but a weak disabling of myself. 4 . 30 

As much as I deserve ! Why, that's the lady : 

I do in birth deserve her, and in fortunes, 

In graces and in qualities of breeding; 

But more than these, in love I do deserve. 

What if I strayed no further, but chose here? 35 

Let's see once more this saying graved in gold; 

"Who chooseth me shall gain what many men desire." 

Why, that's the lady; all the world desires her; 

From the four corners of the earth they come, 

To kiss this shrine, this mortal, breathing saint 5 40 

The Hyrcanian deserts 6 and the vasty wilds 

Of wide Arabia 7 are as throughfares now 

For princes to come view fair Portia: 

The watery kingdom, whose ambitious head 

Spits in the face of heaven, is no bar 45 



4 Paraphrase lines 24-30. 

6 The word "saint" is properly applied only to a person long 
since dead, therefore Shakespeare uses the two adjectives 
mortal and breathing to justify the application of the word in 
this connection. 

6 The uninhabited north. 

7 The uninhabited south. 



Scene VII] TEE MERCHANT OF VENICE 55 

To stop the foreign spirits, but they come, 

As o'er a brook, to see fair Portia. 8 

One of these three contains her heavenly picture. 

Is't like that lead contains her ? 'Twere damnation 

To think so base a thought : it were too gross 50 

To rib her cerecloth 9 in the obscure grave. 

Or shall I think in silver she's immured, 

Being ten times undervalued to tried gold? 10 

sinful thought! Never so rich a gem 54 

Was set in worse than gold. They have in England 

A coin that bears the figure of an angel 

Stamped in gold, 11 but that's insculped 12 upon; 

But here an angel in a golden bed 

Lies all within. Deliver me the key: 

Here do I choose, and thrive I as I may ! 60 

Pot. There, take it, Prince ; and if my form lie there, 
Then I am yours. [He unlocks the golden casket. 

Mor. hell ! what have we here ? 

A carrion Death, 13 within whose empty eye 
There is a written scroll ! I'll read the writing. 

[Reads.] All that glisters is not gold; 65 

Often have you heard that told : 
Many a man his life hath sold 

8 Paraphrase lines 41-46. 

» Winding sheet, i. e. Not only her body but anything that 
has touched her body is worthy of a richer grave. Rib — con- 
fine. 

10 At the end of Elizabeth's reign, the ratio of gold to silver 
coinage was about ten to one. 

11 A gold coin corresponding in value to the Venetian ducat. 

12 S'tamped. 

18 An empty skull. 



56 THE MERCHANT OF VENICE [Act II 

But my 14 outside to behold: 
Gilded tombs do worms infold. 
Had you been as wise as bold, 70 

Young in limbs, in judgement old, 
Your answer had not been inscrolled : 13 
Fare you well; your suit is cold. 
Cold, indeed; and labour lost : 
Then, farewell, heat, and welcome, frost! 10 75 
Portia, adieu. I have too grieved a heart 
To take a tedious leave : thus losers part. 

[Exit with Itis train. Flourish of cornets. 
Por. A gentle riddance. Draw the curtains, go. 
Let all of his complexion choose me so. [Exeunt. 

14 The skull is speaking. The reference is to the beauty of 
form and face. 

15 i. e. The portrait of Portia would have answered you. 

i6 "Farewell, Frost" was a common expression at the ter- 
mination of a disagreeable interview or incident. 



SCENE-SETTING. 
ACT II.— SCENE VIII.— A STREET IN VENICE. 

Note. In this scene, the audience hears, from the lips 
of a third person, (1) of the success of Lorenzo's plans ; 
(2) of the manner in which Shylock receives the news of 
his daughter's flight; (3) of the deep friendship existing 
between Antonio and Bassanio. 

(1). Setting of the Scene. 

The street of Act I, scene i. 



Scene VIII] THE MERCHANT OE VENICE 57 

(2). Actors. 

Saldino, who has been keeping Shylock under ob- 
servation in the interest of Lorenzo. 

Salarino, who has accompanied Bassanio to the 
ship which is to take him to Belmont. 
(3). Costumes. 

As in Act I, scene i. 
(4). Time of the Action. 

The morning following Act II, scene vi. 



Scene VIII. Venice. A street. 
Enter Salarino and Salanio. 

Salar. Why, man, I saw Bassanio under sail : 
With him is Gratiano gone along; 
And in their ship I am sure Lorenzo is not. 

Sedan. The villain 1 Jew with outcries raised the 
Duke, 
Who went with him to search Bassanio's ship. 

Solar. He came too late, the ship was under sail : 
But there the Duke was given to understand 
That in a gondola 2 were seen together 
Lorenzo and his amorous Jessica : 

Besides, Antonio certified the Duke 10 

They were not with Bassanio in his ship. 

Salan. I never heard a passion so confused, 
So strange, outrageous, and so variable, 

1 Used by Shakespeare merely as a term of contempt. 

2 The well known public conveyance in the watery streets 
of Venice. 



58 THE MERCHANT OF VENICE [Act II 

As the old Jew did utter in the streets : 

"My daughter ! my ducats ! my daughter ! 15 

Fied with a Christian ! my Christian ducats ! 

Justice! the law! my ducats, and my daughter! 

A sealed bag, two sealed bags of ducats, 

Of double ducats, stolen from me by my daughter ! 

And jewels, two stones, two rich and precious stones, 

Stolen by my daughter! Justice! find the girl; 21 

She hath the stones upon her, and the ducats." 3 

Salar. Why, all the boys in Venice follow him, 
Crying, his stones, his daughter, and his ducats. 

Salan. Let good Antonio look he keep his day, 4 25 
Or he shall pay for his. 

Salar. Marry, well remembered. 

I reasoned with 5 a Frenchman yesterday, 
Who told me, in the narrow seas 6 that part 
The French and English, there miscarried 
A vessel of our country richly fraught: 30 

I thought upon Antonio when he told me; 
And wished in silence that it were not his. 

Salan. You were best to tell Antonio what you hear ; 
Yet do not suddenly, for it may grieve him. 

Salar. A kinder gentleman treads not the earth. 35 
T saw Bassanio and Antonio part: 
Bassanio told him lie would make some speed 

8 Describe the various emotions which, according to Salanlo, 
called forth these lines. 
4 Explain. 
« Talked with. 
• The English Channel 



Scene VIII] THE MERCHANT OF VENICE 59 

Of his return: he answered, "Do not so; 

Slubber 7 not business for my sake, Bassanio, 

But stay the very riping of the time; 40 

And for the Jew's bond which he hath of me, 

Let it not enter in your mind of love : 8 

Be merry, and employ your chiefest thoughts 

To courtship and such fair ostents of love 

As shall conveniently become you there :" 45 

And even there, his eye being big 9 with tears, 

Turning his face, he put his hand behind him, 

And with affection wondrous sensible 10 

He wrung Bassanio's hand ; and so they parted. 

Salan. I think he only loves the world for him. 50 
I pray thee, let us go and find him out 
And quicken his embraced heaviness 11 
With some delight or other. 12 

Salar. Do we so. Exeunt. 



T i. e. Do not make a mess of your business by undue haste. 

8 Your loving mind. 

9 Swollen. 

10 i. e. Made sensitive by his affection. 

11 As we say, "Hugs his sorrows or troubles", i. e. will not 
throw them off. 

12 In what estimation is Antonio held by his friends and 
acquaintances? 



60 THE MERCHANT OF VENICE [Act II 

SCENE SETTING. 
ACT II.— SCENE IX.— BELMONT. 

Note. Scene ix is, in effect, a continuation of scene vii, 
although the action is some days later. 
(1). Setting of the Scene. 

A room in Portia's house, as in Act II, scene vii. 
(2). Actors. 

Portia, Nerissa, & Attendants. 
The Prince of Arragon & His Retinue. 
(3.) Costumes. 

Portia & Nerissa are dressed as in Act II, scene vii. 
The Prince of Arragon (a man of swarthy com- 
plexion, with a pointed black beard) wears a doublet and 
trunk hose of black silk with deep slashes lined with yel- 
low ; long scarlet cloak with lace ruffles at neck and wrists ; 
black stockings ; long pointed shoes ; hat with conical top 
and narrow rim. A long straight sword with jewelled hilt, 
a jewelled dagger, and a gold neckchain complete the cos- 
tume. 

The Attendants of the Prince of Arragon wear cos- 
tumes of similar fashion with differences appropriate to 
their several ranks. 
(4). Time of Action. 

Some days later than the time of Act II, scene vii. 

Scene JX. Belmont. A room in Portia's house. 

Enter Nerissa ivith a Servitor. 

Ner. Quick, quick, I pray thee; draw the curtain 1 
straight : 

1 The curtain which conceals the caskets. 



Scene IX] THE MERCHANT OF VENICE 61 

The Prince of Arragon hath ta'en his oath, 
And comes to his election 2 presently. 

Flourish of cornets. Enter the Prince of Arragon, Portia, 
and their trains. 

For. Behold, there stand the caskets, noble Prince: 
If yon choose that wherein I am contained, 5 

Straight shall onr nuptial rites be solemnized: 
But if yon fail, without more speech, my lord, 
You must be gone from hence immediately. 

At. I am enjoined by oath to observe three things : 
First, never to unfold to any one 10 

Which casket 'twas I chose; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage; 
Lastly, 

If I do fail in fortune of my choice, 1& 

Immediately to leave you and be gone. 

For. To these injunctions every one doth swear 
That comes to hazard for my worthless self. 

Ar. An so have I addressed me. Fortune now 
To my heart's hope ! Gold ; silver ; and base lead. 2a 
"Who chooseth me must give and hazard all he hath." 
You shall look fairer, ere I give or hazard. 3 
What says the golden chest ? ha ! let me see : 
"Who chooseth me shall gain what many men desire." 
What many men desire ! that many may be meant 2& 
By the fool multitude, that choose by show, 

a Choice. 

* This is said to the lead casket. 



62 THE MERCHANT OF TEXICE [Act II 

Not learning more than the fond 4 eye doth teach ; 

Which pries not to the interior, but like the martlet, 5 

Builds in the weather on the outward wall, 

Even in the force and road of casualty. 30 

I will not choose what many men desire, 

Because I will not jump with 7 common spirits 

And rank me with the barbarous multitudes. 

Why, then to thee, thou silver treasure-house ; 

Tell me once more what title thou dost bear: 35 

"Who chooseth me shall get as much as he deserves :" 

And well said too; for who shall go about 

To cozen s fortune and be honourable 9 

Without the stamp of merit? Let none presume 

To wear an undeserved dignity. 40 

0, that estates, degrees and offices 

Were not derived corruptly, and that clear honour 

Were purchased by the merit of the wearer ! 

How many then should cover that stand bare! 10 

How many be commanded that command ! 45 

How much low peasantry would then be gleaned 

From the true seed of honour! 11 and how much honour 

4 Flattering. 

6 Martin or barn swallow. 

6 i. e. In the way of accident. 

7 An expression common in Shakespeare, meaning "make 
equal with". 

8 Cheat. 

9 Assume a position of honor. 

111 Should cover their heads in the presence of those to whom 
they now doff their hats in respect. 

11 This means that many peasants assume the rank and 
privileges of noblemen, while true noblemen are reduced by 
misfortune and ruin to the lowest ranks. 



Scene IX] THE MERCHANT OF VENICE 63 

Picked from the chaff and ruin of the times 
To be new-varnished ! Well, but to my choice ; 
"Who 'chooseth me shall get as much as' he deserves." 
I will assume desert. 12 Give me a key for this, 51 

And instantly unlock my fortunes here. 

[Tie opens the silver casket. 
Por. Too long a pause for that which you find there. 
Ar. What's here? the portrait of a blinking idiot, 
Presenting me a schedule ! I will read it. 55 

How much unlike art thou to Portia ! 
How much unlike my hopes and my deservings ! 
"Who chooseth me shall have as much as he deserves.'' 
Did I deserve no more than a; fool's head ? 
Is that my prize? are my deserts no better? 60 

Por. To offend, and judge, are distinct offices 
And of opposed natures. 13 

Ar. What is here? 

[Reads.'] The fire seven times tried this;i4 
Seven times tried that judgment is, 
That did never choose amiss. 05 

Some there be that shadows kiss ; 
Such have but a shadow's bliss : 
There be fools alive, I wis, 
Silvered o'er ; and so was this. 
Take what wife you will to bed. 
I will ever be your head : 
So be gone : you are sped. 



12 I will pretend that nothing is too good for me. 
18 This passage means, "You were not competent to sit 
in judgment on your own merits. 
14 i. e. The silver of the casket. 



64 THE MERCHANT OF VENICE [Act II 

Still more fool I shall appear 
By the time I linger here : 
With one fool's head I came to woo. 75 
But I go away with two. 
Sweet, adieu. I'll keep my oath, 
Patiently to bear my wroth. 

[Exeunt Arragon and train. 
Por. Thus hath the candle singed the moth. 
0, these deliberate fools ! when they do choose, 80 

They have the wisdom by their wit to lose. 

Ner. The ancient saying is no heresy, 
Hanging and wiving goes by destiny. 
Por. Come, draw the curtain, ISTerissa. 

Enter a Servant. 
Serv. "Where is my lady? 

Por. Here: Avhat would my lord? 15 

Serv. Madam, there is alighted at your gate 85 

A young Venetian, one that comes before 
To signify the approaching of his lord ; 
From whom he bringeth sensible regrets, 10 
To wit, besides commends and courteous breath, 90 

Gifts of rich value. Yet I have not seen 
So likely 17 an ambassador of love : 
A day in April never came so sweet, 



15 A sportive rebuke to the evident excitement of the 
messenger. 

18 Substantial greetings. 

17 In the sense of "promising". This is one of the many 
so-called "Americanisms" found in Shakespeare. 



Scene IX] TEE MERCEANT OF VENICE 65 

To show how costly summer was at hand, 

As this fore-spurrer comes before his lord. 95 

Por. No more, I pray thee : I am half af eard 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day 18 wit in praising him. 
Come, come, Nerissa; for I long to see 
Quick Cupid's post that comes so mannerly. 10 ° 

Ner. Bassanio, lord Love, 19 if thy will it be! 

[Exeunt. 

*• What Is the significance of this adjective? 
» "O God of Love". 



SCENE-SETTING. 
ACT III.— SCENE I.— A STREET. 

Note. This scene (1) informs the reader that Antonio's 
ships are reported lost; (2) presents Shylock torn by two 
emotions ; exultation at the thought of the forfeited bond, 
and despair over the ducats which his daughter has stolen 
from him and is squandering in Genoa. Any sympathy 
which reader or audience may have felt for Shylock is 
banished by this scene. 

(1). Setting of the Scene. 

The Street of Act II, scene viii. 
(2). Actors. 

Salanio & Salarino. 

Shylock. 

Tubal, a friend of Shylock and of the same race. 

A Servant. 



66 



THE MERCHANT OF VENICE [Act III 



(3). Costumes. 

Salanio & Salarino are dressed as in Act I, scene i. 
Shylock wears the costume of Act I, scene iii. 
Tribal is dressed like Shylock. (He is younger than 
Shylock.) 

The Servant is a page in livery. 
(4). Time of Action. 

A week or more later than the action of Act II, 
scene viii. 



ACT III. 

Scene I, Venice. A street. 
Enter Salanio and Salarino. 

Salan. Now, what news on the Eialto ? 

Salar. Why, yet it lives there unchecked 1 that An- 
tonio hath a ship of rich lading wracked on the narrow 
seas; the Goodwins, 2 I think they call the place; a 
very dangerous flat, and fatal, where the carcases of 
many a tall ship lie buried, as they say, if my gossip 
report be an honest woman of her word. 7 

Salan. I would she were as lying a gossip in that 
as ever knapped 3 ginger or made her neighbours believe 
she wept for the death of a third husband. But it is 
true, without any slips of prolixity or crossing the plain 
highway of talk, that the good Antonio, the honest 

1 Uncontradicted. 

• The Goodwin Sands off the coast of Kent, England. 

• Nibbled. 



Scene I] TEE MERCEANT OF VENICE 67 

Antonio, that I had a title good enough to keep 

his name company ! — ■ 14 

Salar. Come, the full stop. 4 

Sal an. Ha! what sayest thou? Why, the end is, he 
hath lost a ship. 

Salar. I would it might prove the end of his losses. 

Salan. Let me say Amen 5 betimes, lest the devil 
cross my prayer, for here he comes in the likeness of 
a Jew. 21 

Enter Shylock. 

How now, Shylock ! what news among the merchants ? 

Shy. You knew, none so well, none so well as you, 
of my daughter's flight. 

Salar. That's certain: I, for my part, knew the 
tailor that made the wings she flew withal. 6 2n 

Salan. And Shylock, for his own part, knew the 
bird was fledged; and then it is the complexion of them 
all to leave the clam. 

Shy. She is damned for it. 

Salar. That's certain, if the Devil may be her judge. 

Shy. My own flesh and blood to rebel ! 

Salar. There is more difference between thy flesh 
and hers than between jet and ivory; more between 
your bloods than there is between red wine and Ehenish. 7 

4 i. e. "Get to the end of your sentence." 

• This means, "I could repeat your prayer, but will merely 
say 'Amen', lest the Devil should tempt me to change my mind 
while I am praying." 

« What does this mean? 

T The light colored, sour wines of Germany were little 
valued in Shakespeare's day. 



68 TEE MERCEANT OF VENICE [Act III 

But tell us, do you hear whether Antonio have had any 
loss at sea or no ? 37 

Shy. There I have another bad match: 8 a bankrupt, 
a prodigal, who dare scarce show his head on the Rial to ; 
a beggar, that was used to come so smug upon 
the mart 9 ; let him look to his bond: he was wont to 
call me usurer; let him look to his bond: he was wont 
to lend money for a Christian courtesy 10 ; let him look 
to his bond. 44 

Salar. Why, I am sure, if he forfeit, thou wilt not 
take his flesh : what's that good for ? 

Shy. To bait fish withal 11 : if it will feed nothing 
else, it will feed my revenge. He hath disgraced me, 
and hindered me half a million 12 : laughed at my losses, 
mocked at my gains, scorned my nation, thwarted my 
bargains, cooled my friends, heated mine enemies; 
and what's his reason? I am a Jew. Hath not a 
Jew eyes? hath not a Jew hands, organs, dimen ? 
sions, senses, affections, passions? fed with the same 
food, hurt with the same weapons, subject to the same 
diseases, healed by the same means, warmed and cooled 
by the same winter and summer, as a Christian is? 
If you prick us, do we not bleed ? if you tickle us, do we 
not laugh? if you poison us, do we not die? and if you 
wrong us, shall we not revenge? If we are like you in 

» Unprofitable associate. 

• Come into the market so confidently. 

18 i. e. As a duty one Christian owed to another. 

n i. e. As well as other things. 

12 i. e. Half a million ducats in profits. 



Scene I] THE MERCHANT OF VENICE 69 

the rest, we will resemble yon in that. I a Jew wrong 
a Christian, what is his humility? Eevenge. If a 
Christian wrong a Jew, what should his sufferance 14 be 
by Christian example? Why, revenge. The villiany 
you teach me, I will execute, and it shall go hard but 
I will better the instruction. 15 

Enter a Servant. 

Serv. Gentlemen, my master Antonio is at his house 
and desires to speak with you both. 

Salar. We have been up and down to seek him. 
Enter Tubal. 

Solan. Here comes another of the tribe: a third 
cannot be matched, unless the Devil himself turn Jew. 
[Exeunt Salan., Salar., and Servant. 

Shy. How now, Tubal ! what news from Genoa ? 
hast thou found my daughter? 

Tub. I often came where I did hear of her, but can- 
not find her. 75 

Shy. Why, there, there, there, there ! a diamond gone, 
cost me two thousand ducats in Frankfort! 10 The 
curse 17 never fell upon our nation till now; I never felt 

13 The antecedent of "his" is Christian. 

14 Forbearance. 

15 If these were the only lines spoken by the Jew in the 
scene, the sympathy of the reader would easily be with him. 
The speech is a most eloquent and convincing one. 

16 Frankfort-on-the-Main, a great market town of Ger- 
many. 

17 It was generally believed by the Jews themselves that 
the scattered and homeless condition of the race was a 
punishment for sin and unbelief. 



70 THE MERCHANT OF VENICE [Act III 

it till now : two thousand ducats in that ; and other 
precious, precious jewels. I would my daughter were 
dead at my foot, and the jewels in her ear ! would she 
were hearsed at my foot, and the ducats in her coffin! 18 
Xo news of them ? Why, so : and I know not what's 
spent in the search : why, thou loss upon loss ! the thief 
gone with so much, and so much to find the thief; and 
no satisfaction, no revenge : nor no ill luck stirring but 
what lights on my shoulders; no sighs but of my 
breathing; no tears but of my shedding. 

Tub. Yes, other men have ill luck too : Antonio, as 
I heard in Genoa, — 90 

Shy. What, what, what? ill luck, ill luck? 

Tub. Hath an argosy cast away, coming from Tripo- 
lis. 

Shy. I thank God, I thank God. Is't true, is't 
true ? 95 

Tub. I spoke with some of the sailors that escaped 
the wrack. 

Shy. I thank thee, good Tubal, good news, good 
news ! ha, ha ! where ? in Genoa ? " 

Tub. Your daughter spent in Genoa, as I heard, in 
one night fourscore ducats. 

Shy. Thou stick'st a dagger in me : I shall never 
see my gold again : fourscore ducats at a sitting ! four- 
score ducats ! 104 

Tub. There came divers of Antonio's creditors in 

18 This is the utterance of the conventional miser of fiction, 
not of a Jew. 



Scene I] THE MERCHANT OF VENICE 71 

my company to Venice, that swear he cannot choose but 
break. 19 

Shy. I am very glad of it: I'll plague him; I'll tor- 
ture him : I am glad of it. 109 

Tub. One of them showed me a ring that he had of 
your daughter for a monkey. 

Shy. Out upon her! Thou torturest me, Tubal: it 
was my turquoise 20 ; I had it of Leah 21 when I was. a 
bachelor : I would not have given it for a wilderness of 
monkeys. 22 115 

Tub. But Antonio is certainly undone. 

Shy. Nay, that's true, that's very true. Go, Tubal, 
fee me an officer 23 ; bespeak him a fortnight before. 24 
I will have the heart of him, 25 if he forfeit; for, were 
he out of Venice, I can make what merchandise I will. 20 
Go, go, Tubal, and meet me at our s} r nagogue; go, 
good Tubal; at our synagogue, Tubal. 27 [Exeunt. 



19 i. e. Become a bankrupt. 

20 The Turquoise was highly valued by Orientals. 

21 Evidently Shylock's deceased wife. 

22 Notice that he does not say he would not have parted 
with it for a really valuable consideration. 

23 i. e. Retain an officer of the law to serve my writ when 
the time comes. 

24 i. e. Before the day mentioned in the bond. 

25 Antonio. 

26 Explain. 

2T Describe the manner in which this conversation is car- 
ried on. 



72 THE MERCHANT OF VENICE [Act III 

SCENE-SETTING. 

ACT III.— SCENE II.— BELMONT. 

Note. This is the famous Casket Scene in which the 
drama reaches its climax. (l)Bassanio makes successful 
choice of the casket; (2) News of the loss of Antonio's 
ships and of Shylock's determination to exact the forfeit- 
ure reach Bassanio at the moment of his betrothal; (3) 
Jessica and Lorenzo accompany the bearer of the bad tid- 
ings and are made welcome at Belmont. 
(1). Setting of the Scene. 

The Hall of Portia's palace at Belmont, as in Act 
II, scene vii. 
(2). Actors. 

Bassanio, Gratiano, Lorenzo. 

Portia, Nerissa, Jessica. 

Salerio, a messenger from Venice. 

Pages & Waiting women. 
(3). Costumes. 

Portia and Nerissa arc dressed as in previous 
scenes. 

Jessica's costume is like that of Nerissa. 

Gratiano wears a slashed doublet ornamented with 
gold buttons, trunk hose, black stockings and shoes, a short 
black cloak, sword and jewelry. 

Bassanio wears a long black silk cloak over scarlet 
doublet and hose, black silk stockings, black shoes, sword 
with jewelled hilt, gold neck chain. 

Lorenzo and the other gentlemen wear a costume 
like that of Gratiano with minor differences of color and 
cut. 

Salerio wears a travelling costume — long gray 
cloak, buff doublet and hose, gray stockings and leather 
shoes, felt hat, and long leather gloves. 



Scene II] TEE MERCEANT OF VENICE 73 

(4). Time of Action. 

Three months later than Act III, scene i, somewhat 
more than three months after the Bond Scene. 



Scene II. Belmont. A room in Portia's house. 

Enter Bassanio, Portia, Gratiano, Nerrissa, and 
Attendants. 
For. I pray you, tarry 1 : pause a day or two 
Before you hazard; for, in choosing wrong, 
I lose your company: therefore forbear awhile. 
There's something tells me, but it is not love, 
I would not lose you; and you know yourself, 5 

Hate counsels not in such a quality. 2 
But lest you should not understand me well, — 
And yet a maiden hath no tongue but thought, — 
I would detain you here some month or two 
Before you venture for me. I could teach you 10 

How to choose right, but I am then forsworn; 3 
So will I never be : so may you miss me ; 
But if you do, you'll make me wish a sin, 
That I had been forsworn. Beshrew your eyes, 4 
They have o'erlooked me and divided me; 15 

One half of me is yours, the other half yours, 
Mine own, I would say; but if mine, then yours, 

1 Notice the change in Portia's manner in this scene. 

2 Portia says in effect, "I will not confess that it is love, 
but you can see that it is not hate which actuates me". 

8 "I would be then a perjurer". 

4 A "lady's malediction" — "May your eyes be blamed". 



74 THE MERCHANT OF VENICE [Act III 

And so all yours. 0, these naughty times 5 

Put bars between the owners and their rights ! 

And so, through yours, not yours. Prove it so, 6 20 

Let fortune go to hell for it, not I. 7 

I speak too long; but 'tis to piece the time, 

To eke it and to draw it out in length, 

To stay you from election. 8 

Bass. Let me choose; 

For as I am, I live upon the rack. 25 

Por. Upon the rack, Bassanio ! then confess 
What treason 9 there is mingled with your love. 

Bass. Xone but that ugly treason of mistrust, 
Which makes me fear the enjoying of my love 10 : 
There may as well be amity and life 
'Tween snow and fire, as treason and my love. 

Por. Ay, but I fear you speak upon the rack, 
Where men enforced do speak anything. 

Bass. Promise me life, and I'll confess the truth. 

Por. Well then, confess and live. 

Bass. Confess and love 

Had been the very sum of my confession; 3G 

happy torment, when my torturer 

5 Referring to the condition of society, rights of parents, 
etc. 

6 i. e. If it prove so. 

7 i. e. "It will be Fortune, not I who is to blame". 

s Paraphrase this whole speech of Portia's. Jn what state 
of mind must the reader imagine her to be? 

9 Lack of confidence. 

10 i. e. "That I may not enjoy, etc". 

11 i. e. "I am guilty of nothing except love for you". 



Scene II] THE MERCHANT OF VENICE 75 

Doth teach me answers for deliverance ! 
But let me to my fortune and the caskets. 

For. Away, then ! I am locked in one of them : 40 
If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound while he doth make his choice ; 
Then, if he lose, he makes a swan-like end. 12 
Fading in music; that the comparison 45 

May stand more proper, my eye shall be the stream 
And watery death-bed for him. He may win; 
And what is music then ? Then music is 
Even as the flourish 13 when true subjects bow 
To a new-crowned monarch; such it is 50 

As are those dulcet sounds in break of day 
That creep into the dreaming bridegroom's ear 
And summon him to marriage. Now he goes, 
With no less presence, 14 but with much more love, 
Than young Alcides, when he did redeem 55 

The virgin tribute paid by howling Troy 
To the sea-monster: 15 I stand for sacrifice; 
The rest aloof are the Dardanian wives, 
With bleared visages, come forth to view 
The issue of the exploit. Go, Hercules ! co 



12 Referring to the old fable that "the swan, when wounded, 
pours forth its last breath in notes most beautifully clear and 
loud". 

13 Flourish of trumpets as the crown is placed on the head 
of a new king at his coronation. 

14 Beauty and dignity. 

15 Consult the Classical Dictionary under "Hercules". 



76 THE MERCHANT OF VENICE [Act III 

Live thou, I live : 16 with much much more dismay 
I view the fight than thou that mak'st the fray. 

Music, whilst Bassanio comments on the caskets to 
himself. 

Song. 17 
Tell me where is fancy 18 bred, 
Or in the heart or in the head ? 
How begot, how nourished? 65 

Beply, reply. 
It is engendered in the eyes, 
With gazing fed; and fancy dies 
In the cradle where it lies. 

Let us all ring fancy's knell : 70 

Fll begin it, — Ding, dong, bell. 
All. Ding, dong, bell. 
Bass. So may the outward shows be least them- 
selves : 19 
The world is still deceived with ornament. 
In law, what plea so tainted and corrupt 75 

But, being seasoned with a gracious voice, 
Obscures the show of evil? In religion, 
What damned error, but some sober brow 



16 i. e. "If you live, I live". 

17 This song is sung by the pages and waiting women and 
is evidently intended to suggest the train of thought which 
leads Bassanio to the right casket. Portia has hinted to 
Bassanio that he pay attention to the music. What inferences 
is Bassanio justified in drawing from this song? 

18 Passing fondness. 

" i. e. What they seem or should be. 



Scene II] THE MERCHANT OF VENICE 77 

Will bless it and approve it with a text, 

Hiding the grossness with fair ornament? 80 

There is no vice so simple 20 but assumes 

Some mark of virtue on his outward parts: 

How many cowards, whose hearts are all as false 

As stayers 21 of sand, wear yet upon their chins 

The beards of Hercules and frowning Mars, 22 85 

Who, inward searched, have livers white as milk; 23 

And these assume but valour's excrement 24 

To render them redoubted ! 25 Look on beauty, 

And you shall see 'tis purchased by the weight, 

Which therein works a miracle in nature. 

Making them lightest 26 that wear most of it : 

So are those crisped snaky golden locks 

Which make such wanton gambols with the wind, 

Upon supposed fairness, often known 

To be the dowry 27 of a second head, 95 

The skull that bred them in the sepulchre. 2S 

Thus ornament is but the gtiiled shore 



20 Artless. 

21 "Bulwarks of sand that the least opposition will throw 
down" — Knight. 

22 i. e. Of the hero and the war-god. 

23 An idea adapted from the Roman superstition that a 
white liver in a sacrificial animal augured defeat in battle. 

24 Excrescence. 

28 Indomitable. From Notes 21-25, paraphrase lines 83-88. 

26 i. e. Lightest in conduct. 

27 Endowment. 

38 i. e. Having graced another head before. 

29 Beset with treachery. 



78 THE MERCHANT OF VENICE [Act III 

To a most dangerous sea; the beauteous scarf 30 

Veiling an Indian beauty ; in a word, 

The seeming truth which cunning times put on 10 ° 

To entrap the wisest. Therefore, thou gaudy gold, 

Hard food for Midas, 31 I will none of thee; 

Nor none of thee, 32 thou pale and common drudge 33 

'Tween man and man : but thou, thou meagre lead, 

Which rather threat'nest than dost promise aught, 105 

Thy paleness moves me more than eloquence; 

And here choose I : joy be the consequence ! 

Por. [Aside.] How all the other passions fleet to 
air, 
As doubtful thoughts, and rash-embraced despair, 
And shuddering fear, and green-eyed jealousy! 110 

love, 

Be moderate; allay thy ecstasy; 

In measure rein they joy ; scant this excess. 

1 feel too much thy blessing: make it less, 
For fear I surfeit. 

Bass. What find I here? 115 

[Opening the leaden casket. 
Fair Portia's counterfeit! What demi-god 
Hath come so near creation? 34 Move these eyes? 

80 The veil worn by Oriental women, which conceals ugli- 
ness much oftener than beauty. 

81 Consult the Classical Dictionary. 
S2 . Place the accent on this word. 

88 Silver, used for the most commonly circulated coins. 
34 i. e. So near creating a living form, so perfect in the like- 
ness. 



Scene II] THE MERCHANT OF VENICE 79 

Or whether, riding on the balls of mine, 

Seem they in motion ? Here are severed lips, 

Parted with sugar breath : so sweet a bar 120 

Should sunder such sweet friends. Here in her hairs 

The painter plays the spider and hath woven 

A golden mesh to entrap the hearts of men 

Faster than gnats in cobwebs : but her eyes, — 

How could he see to do them? having made one, 125 

Methinks it should have power to steal both his 

And leave itself unfurnished. Yet look, how far 

The substance of my praise ctoth wrong this shadow 

In underprizing it, so far this shadow 

Doth limp behind the substance. 35 Here's the scroll, 13 ° 

The continent 36 and summary of my fortune. 

[Reads.] You that choose not by the view, 

Chance as fair and choose as true ! 
Since this fortune falls to you, 
Be content and seek no new 135 

If you be well pleased with this 
And hold your fortune for your bliss, 
Turn you where your lady is 
And claim her with a loving kiss. 

A gentle scroll. Fair lady, by your leave; 140 

I come by note, 37 to give and to receive. 

Like one of two contending in a prize, 

That thinks he hath done well in people's eyes, 

86 Put this speech of Bassanio's into your own words. 
38 That which contains. 

37 Explain, and show how the metaphor is carried out in the 
latter part of Bassanio's speech. 



80 THE MERCHANT OF VENICE [Act III 

Hearing applause and universal shout, 

Giddy in spirit, still gazing in a doubt 145 

Whether those peals of praise be his or no ; 

So, thrice-fair lady, stand I, even so; 

As doubtful whether what I see be true, 

Until confirmed, signed, ratified by you. 

Por. You see me, Lord Bassanio, where I stand, 150 
Such as I am : though for myself alone 
I would not be ambitious in my wish, 
To wish myself much better ; yet, for you 
I would be trebled twenty times myself ; 
A thousand times more fair, ten thousand times 155 

More rich: 

That only to stand high in your account, 
I might in virtues, beauties, livings, friends, 
Exceed account. But the full sum of me 
Is sum of nothing; which, to term in gross, 160 

Is an unlessoned girl, unschooled, unpractised; 
Happy is this, she is not yet so old 
But she may learn ; happier than this, 
She is not bred so dull but she can learn ; 
Happier of all is that her gentle spirit 168 

Commits itself to yours to be directed, 
As from her lord, her governor, her king. 
Myself and what is mine to you and yours 
Is now converted : but now I was the lord 
Of this fair mansion, master of my servants, 17 ° 

Queen o'er myself ; and even now, but now, 
This house, these servants and this same myself 



Scene II] TEE MERCEAXT OF VENICE 81 

Are yours, my lord : I give them with this ring ; 
Which when you part from, lose, or give away, 
Let it presage the ruin of your love 175 

And be my vantage to exclaim on you. 38 

Bass. Madam, you have bereft me of all words, 
Only my blood speaks to you in my veins; 
And there is such confusion in my powers, 
As, after some oration fairly spoke 18 ° 

By a beloved prince, there doth appear 
Among the buzzing pleased multitude; 
Where every something, being blent together, 
Turns to a wild of nothing, save, of joy, 
Expressed and not expressed. But when this ring 185 
Parts from this finger, then parts life from hence : 
0, then be bold to say Bassanio's dead ! 

Ner. My lord and lady, it is now our time, 
That have stood by and seen our wishes prosper, 
To cry, good joy : good joy, my lord and lady ! 190 

Gra. My Lord Bassanio and my gentle lady, 
I wish you all the joy that you can wish ; 
For I am sure you can wish none from me: 39 
And when your honours mean to solemnize 
The bargain of your faith, I do beseech you, 195 

Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a wife. 

Gra. I thank your lordship, you have got me one. 



88 Discuss this speech at length. Note its beauty and slm-, 
pllcity. 

89 i. e. "Wish to rob me of none". 



82 THE MERCHANT OF VENICE [Act III 

My eyes, my lord, can look as swift as yours : 

You saw the mistress, I beheld the maid ; 200 

You loved, I loved for intermission. 

No more pertains to me, my lord, than you. 

Your fortune stood upon the casket there, 

And so did mine too, as the matter falls ; 

For wooing here until I sweat again, 205 

And swearing till my very tongue was dry 

With oaths of love, at last, if promise last, 40 

I got a promise of this fair one here 

To have her love, provided that your fortune 

Achieved her mistress. 

Por. Is this true, Nerissa? 210 

Ner. Madam, it is, so you stand pleased withal. 

Bass. And do you, Gratiano, mean good faith? 

Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honoured in your mar- 
riage. 

Gra. But who comes here? Lorenzo and his infi- 
del? 215 
What, and my old Venetian friend Salerio? 
Enter Lorenzo, Jessica, and Salerio, a messenger from 
Venice. 

Bass. Lorenzo and Salerio, welcome hither; 
If that the youth of my new interest here 
Have power to bid you welcome. By your leave, 
I bid my very friends and countrymen, 22 ° 

Sweet Portia, welcome. 

*• 1. e. If the promise hold. 



Scene II] TEE MERCEANT OF VENICE 83 

Por. So do I, my lord : 

They are entirely welcome. 

Lor. I thank your honour. For my part, my lord, 
My purpose was not to have seen you here; 
But meeting with Salerio by the way, 225 

He did intreat me, past all saying nay, 
To come with him along. 

Saler. I did, my lord ; 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter. 

Bass. Ere I ope his letter, 

I pray you, tell me how my good friend doth. 41 230 

Saler. Not sick, my lord, unless it be in mind; 
Nor well, unless in mind; his letter there 
Will show you his estate. 

Gra. Nerissa, cheer yon stranger; bid her welcome. 
Your hand, Salerio : what's the news from Venice ? 
How doth that royal merchant, good Antonio ? 236 

I know he will be glad of our success ; 
We are the Jasons, 42 we have won the fleece. 

Saler I would you had won the fleece that he hath 
lost. 

Por. There are some shrewd 43 contents in yon same 
paper, 240 

That steals the colour from Bassanio's cheek : 



41 The conversation between Salerio and Bassanio is an 
"aside." 
43 Consult the Classical Dictionary under "Jason". 
48 Sharp, painful. 



84 THE MERCHANT OF VENICE [ACT III 

Some dear friend dead; else nothing in the world 

Could turn so much the constitution 

Of any constant man. What, worse and worse! 

With leave, Bassanio; I am half yourself, 245 

And I must freely have the half of anything 

That this same paper hrings you. 

Bass. sweet Portia, 

Here are a few of the unpleasant'st words 
Than ever blotted paper ! Gentle lad}', 
When I did first impart my love to you, 250 

I freely told you, all the wealth I had 
Ean in my veins ; I was a gentleman ; 
And then I told you true : and yet, dear lady, 
Eating myself at nothing, you shall see 
How much I was a braggart. When I told you 255 

My state was nothing, I should than have told you 
That I was worse than nothing; for, indeed, 
I have engaged myself to a dear friend, 
Engaged my friend to his mere enemy, 44 
To feed my means. 45 Here is a letter, lady; 260 

The paper as the body of my friend, 
And every word in it a gaping wound, 
Issuing life-blood. But it is true, Salerio ? 
Have all his ventures failed? What, not one hit? 
From Tripolis, from Mexico, and England, 265 

From Lisbon, Barbary and India? 



44 i. e. To nothing less than his worst enemy. 

45 Paraphrase lines 257-260. 



Scene II] THE MERCHANT OF VENICE 85 

And not one vessel 'scape the dreadful touch 
Of merchant-marring 46 rocks? 

Saler. Not one, my lord. 

Besides, it should appear, that if he had 
The present money to discharge the Jew, 
He would not take it. Never did I know 
A creature, that did bear the shape of man, 
So keen and greedy to confound a man : 
He plies the Duke 47 at morning and at night, 
And doth impeach the freedom of the state, 48 275 
If they deny him justice : twenty merchants, 
The Duke himself, and the magnificoes 49 
Of greatest port, 50 have all persuaded with him 51 ; 
But none can drive him from the envious 52 plea 
Of forfeiture, of justice and his bond. 280 

Jes. When I was with him I have heard him swear 
To Tubal and to Chus, his countrymen, 
That he would rather have Antonio's flesh 
Than twenty times the value of the sum 
That he did owe him : and I know, my lord, 285 

If law, authority and power deny not, 53 
It will go hard with poor Antonio. 

46 Give the force of this adjective. 

47 The chief magistrate of Venice. 

48 i. e. Call in question the assertion that Venice was gov- 
erned by laws and not by the whim of a despot. 

49 A peculiar Venetian term for noblemen of the highest rank. 

60 Bearing or dignity. 

61 Tried to persuade him. 

82 Malicious. 

83 i. e. Do not deny what the Jew demands in the name of 
justice. 



86 THE MERCHANT OF VENICE [Act III 

Por. It is your dear friend that is thus in trouble ? 

Bass. The dearest friend to me, the kindest man, 
The best-conditioned and unwearied spirit 29 ° 

In doing courtesies, and one in whom 
The ancient Eoman honour more appears 
Than any that draws breath in Italy. 

Por. What sum owes he the Jew? 

Bass. For me three thousand ducats. 54 

Por. What, no more ? 

Pay him six thousand, and deface 55 the bond ; 290 

Double six thousand, and then treble that, 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First go with me to church and call me wife, 300 

And then away to Venice to your friend ; 
For never shall you lie by Portia's side 
With an unquiet soul. You shall have gold 
To pay the petty debt twenty times over : 
When it is paid, bring your true friend along. 805 

My maid Nerissa and myself meantime 
Will live as maids and widows. Come, away ! 
For you shall hence upon your wedding-day: 
Bid your friends welcome, show a merry cheer: 
Since you are dear bought, I will love you dear. 31 ° 
But let us hear the letter of your friend. 



•* 1. e. "Three thousand ducats, and all for me". 
M Define the word. 



Scene III] TEE MERCEANT OF VENICE 87 

Bass. [Reads.] Sweet Bassanio, my ships have all miscar- 
ried, my creditors grow cruel, my estate is very low, my 
bond to the Jew is forfeit ; and since in paying it, it is 
impossible I should live, all debts are cleared between you 
and I, if I might but see you at my death. Notwithstand- 
ing, use your pleasure : if your love do not persuade you to 
come, let not my letter. 50 317 

Por. love, dispatch all business, and be gone ! 

Bass. Since I have your good leave to go away, 
I will make haste : but, till I come again, 32 ° 

No bed shall e'er be guilty of my stay, 
No rest be interposer 'twixt us twain. [Exeunt. 

88 Note the grammatical error in this letter. 



SCENE-SETTING. 
ACT III.— SCENE III.— VENICE. 

Note. The debt secured by the bond being past due and 
unpaid, Shy lock has had Antonio arrested, pending the 
trial of his right to exact the forfeiture. As the case is 
practically a matter of life and death to Antonio, bail for 
his appearance can not be accepted, and he has been lodged 
in prison. The jailer, in compassion, has allowed him to 
go out on the street to make a personal appeal to his cred- 
itor. 

(1). Setting of the Scene. 

A street in Venice — a* narrow strip of pavement be- 
tween a canal and the prison. The prison forms the back- 
ground of the scene, — a plain, two-storied structure with 
narrow grated windows, and covered with dirty, yellow 



88 TEE MERCHANT OF VENICE [Act III 

stucco. Iii the foreground, are the usual accessories of 
mooring posts and gondolas in the canal. 
(2). Actors. 
Antonio. 
Shylock. 
Salarino. 
The Jailor. 
(3). Costumes. 

Antonio is not confined as a criminal, nor nas he 
been in prison long, so his appearance is not particularly- 
changed. He wears a gray gown, slightly open in front, 
revealing the fact that his ankles are lightly shackled. He 
wears, also, gray stockings and shoes. His head is bare, 
his beard untrimmed. 

Shylock & Salarino are dressed as in previous scenes. 

The Jailer, a short, thick-set man, with iron gray 
hair and beard, wears a buff doublet and trunk hose, black 
stockings and leather shoes, and a gray conical hat. A 
dagger and a bunch of keys are at his girdle, and he car- 
ries a halbeard or spiked pole-axe in his hand. 
(4). Time of Action. 

A few days later than the action of Act III, scene 
ii. 



Scene III. Venice. A street. 

Enter Shylock, Salarino, Antonio and Gaoler.i 

Shy. Gaoler, look at him : tell not me of mercy ; 
This is the fool that lent out money gratis : 
Goaler, look to him. 

1 The jailer, Antonio, and Salarino come out of the prison 
as Shylock is passing. Shylock gives them no opportunity to 
speak but denies their request before it is made. 



Scene III] THE MERCHANT OF VENICE 89 

Ant. Hear me yet, good Shylock. 

Shy. I'll have my bond ; speak not against my bond : 
I have sworn an oath that I will have my bond. 
Thou calledst me dog before thou hadst a cause; 
But, since I am a dog, beware my fangs : 
The Duke shall grant me justice. I do wonder, 
Thou naughty 2 gaoler, that thou art so fond 3 
To come abroad with him at his request. 10 

Ant. I pray thee, hear me speak. 

Shy. I'll have my bond ; I will not hear thee speak : 
I'll have my bond; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool, 4 
To shake the head, relent, and sigh, and yield 15 

To Christian Intercessors. 5 Follow not; 
I'll have no speaking : I will have my bond. [Exit. 

Salar. It is the most impenetrable 6 cur 
That ever kept with men. 7 

Ant. Let him alone : 

I'll follow him no more with bootless 8 prayers. 20 

He seeks my life ; his reason well I know : 
I oft delivered from his forfeitures 



2 Good for nothing. 

8 Foolishly sympathetic. 

4 Notice that Shylock constantly associates folly with be- 
nevolence. 

6 Referring to the efforts of the Duke and the merchants to 
save Antonio. 

6 Impervious to reason. 

T i. e. Instead of associating with wild beasts. 

• Profitless. 



90 THE MERCHANT OF VENICE [Act III 

Many that have at times made moan to me ; 9 
Therefore he hates me. 

Solar. I am sure the Duke 

Will never grant this forfeiture to hold. 25 

Ant. The Duke cannot deny the course of law : 
For the commodity that strangers have 
With us in Venice, if it be denied, 
Will much impeach the justice of his state; 10 
Since that the trade and profit of the city 30 

Consisteth of all nations. Therefore, go: 
These griefs and losses have so bated 11 me, 
That I shall hardly spare a pound of flesh 
To-morrow to my bloody creditor. 

Well, gaoler, on. Pray God, Bassanio come 35 

To see me pay his debt, and then I care not! [Exeunt. 

9 Supplicated. 

10 This means "If aliens are denied the use of legal facilities 
for doing business (commodity), the reputation of Venice as a 
city governed justly and wisely will be lost (impeached), and 
the city will lose the profit it now enjoys from the concourse 
of merchants of all nations. 

11 Reduced. 



SCENE-SETTING. 
ACT III.— SCENE IV.— BELMONT. 

Note. Bassanio and Gratiano have been married, the 
one to Portia, the other to Nerissa, and have gone to Ven- 
ice with money furnished by Portia to pay Antonio's bond. 
Portia leaves Lorenzo and Jessica in charge of her house, 
and, pretending that she is to wait her husband's return 



Scene IV] THE MERCHANT OF VENICE 91 

at a near-by convent, hastens to Venice in the guise of a 
young doctor-at-law, with Nerissa disguised as a clerk. 
This scene hints at this plan of Portia and tells whence 
she obtains her advice and her disguise. 
(1). Setting of the Scene. 

The Hall at Belmont as in Act III, scene ii. 
(2). Actors. 

Portia & Nerissa. 
Lorenzo & Jessica. 
Balthasar, a page. 
(3). Costumes. 

Portia & Nerissa as in Act III, scene ii. 
Lorenzo & Jessica as in Act III, scene ii. 
Balthasar is the same page who appears in Act II, 
scene ix. 

(4). Time of Action. 

The same days as the action of Act III, scene iii. 



Scene IV. Belmont. A room in Portia's house. 

Enter Portia, Nerissa, Lorenzo, Jessica, and Balthasar. 

Lor. Madam, although I speak it in your presence, 
You have a noble and a true conceit 1 
Of god-like amity 2 ; which appears most strongly 
In bearing thus the absence of your lord. 
But if you knew to whom you show this honour, 5 

How true a gentleman 3 you send relief, 

1 Conception. 

8 Friendship. The sentence means, "You know well what 
godlike friendship is", i. e. the friendship between Antonio and 
Bassanio. 

8 In what case? 



92 THE MERCHANT OF VENICE [Act III 

How dear a lover 4 of my lord your husband, 
I know you would be prouder of the work 
Than customary bounty can enforce you. 5 

Por. I never did repent for doing good, 10 

Nor shall not now: for in companions 
That do converse and waste 6 the time together, 
Whose souls do bear an equal yoke of love, 
There must be needs a like proportion 
Of lineaments, of manners and of spirit; 15 

Which makes me think that this Antonio, 
Being the bosom lover of my lord, 
Must needs be like my lord. If it be so, 
How little is the cost I have bestowed 
In purchasing the semblance of my soul 20 

From out the state of hellish misery ! 
This comes too near the praising of myself; 
Therefore no more of it; hear other things. 
Lorenzo, I commit into your hands 
The husbandry and manage 7 of my house 25 

Until my lord's return : for mine own part, 
I have toward heaven breathed a secret vow 
To live in prayer and contemplation, 
Only attended by Nerissa here, 
Until her husband 8 and mv lord's return : 30 



4 In Shakespeare, this word means simply "one who loves". 
6 i. e. "Than your ordinary acts of benevolence could con- 
strain you to be". 
6 Use up, spend. 
1 Control and management. 
• What is the case? 



Scene IV] THE MERCHANT OF VENICE 93 

There is a monastery two miles off; 
And there will we abide. I do desire you 
Not to deny this imposition; 
The which my love and some necessity 
Now lays upon you. 

Lor. Madam, with all my heart; 35 

I shall obey you in all fair commands. • 

For. My people do already know my mind, 
And will acknowledge you and Jessica 
In place of Lord Bassanio and myself. 
And so farewell, till we shall meet again. . 40 

Lor. Fair thoughts and happy hours attend on you ! 

Jes. I wish your ladyship all heart's content. 

For. I thank you for your wish, and am well pleased 
To wish it back on you : fare you well, Jessica. 

[Exeunt Jessica and Lorenzo. 
Now Balthasar, 45> 

As I have ever found thee honest-true, 
So let me find thee still. Take this same letter, 
And use thou all the endeavour of a man 
In speed to Padua : 9 see thou render this 
Into my cousin's hand, Doctor Bellario; 
And, look, what notes and garments he doth give thee, 
Bring them, I pray thee, with imagined 10 speed 
Unto the traject, 11 to the common ferry 

9 A city on the mainland about 25 miles west of Venice, fa- 
mous for its university, one of the oldest in Europe. 

10 The speed of imagination. 

11 Explain the meaning from what follows. 



94 THE MERCHANT OF VENICE [Act III 

Which trades to Venice. Waste no times in words, 
But get thee gone : I shall he there before thee. 55 

Balth. Madam, I go with all convenient speed. 

[Exit. 

Tor. Come on, Nerissa ; I have work in hand 
That you yet know not of : we'll- see our husbands 
Before they think of us. 

Ner. Shall they see us ? 

Tor. They shall, Nerissa; but in such a habit, 12 60 
That they shall think we are accomplished 
With that we lack. I'll hold thee any wager, 
When we are both accoutred like young men, 
I'll prove the prettier fellow of the two, 
And wear my dagger with the braver grace, 65 

And speak between the change of man and boy 
With a. reed voice, and turn two mincing steps 
Into a manly stride, and speak of frays 
Like a fine bragging youth, and tell quaint 13 lies, 
How honourable ladies sought my love, 70 

Which I denying, they fell sick and died ; 
I could not do withal 14 ; then I'll repent, 15 
And wish, for all that, that I had not killed them ; 
And twenty of these puny lies 111 tell, 
That men shall swear I have discontinued school 75 
Above a twelvemonth. I have within my mind 



^ 2 Dress. 

" Ingenious. 

14 I could not help it. 

15 Affect remorse. 



Scene V] THE MERCHANT OF VENICE 95 

A thousand raw tricks of these bragging Jacks, 

Which I will practice. 

But come, Fll tell thee all my whole device 

When I am in my coach, which stays for us 80 

At the park gate ; and therefore haste away, 

For we must measure twenty miles to-day. [Exeunt. 



SCENE-SETTING. 
ACT III.— SCENE V.— BELMONT. 

Note. This rather dull scene is introduced to mark the 
interval between the conception of Portia's plot and its 
execution ; it also serves to show Lorenzo and Jessica in 
a position of dignity worthy of the fortune with which 
they are to be endowed in the next act. 
(1). Setting of the Scene. 

A Garden in Belmont. — The background of the 
scene is the portico of Portia's mansion with marble steps 
leading* up to it. In the foreground, a gravel walk, with 
trimmed shrubbery ; vases, and statuary on each side. 
(2). Actors. 

Lorenzo <C- Jessica. 
Launcelot. 
(3). Costumes. 

Jessica cG Lorenzo arc dressed as in Act III, scene 
iv. 

Launcelot wears a well-fitting suit of page's liv- 
ery, but betrays his lack of training by his uncouth ap- 
pearance and his insolent manner. 
(4.) Time of the Action. 

A few hours later than the action of Act III, scene 
iv. 



96 THE MERCHANT OF VENICE [Act III 

Scene V. The same. A garden. 
Enter Launcelot and Jessica. 

Jes. I shall be saved by my husband; he hath made 
me a Christian. 

Laun. Truly, the more to blame he: we were 
Christians enow before; e'en as many as could well 
live, one by another. 1 This making of Christians will 
raise the price of hogs : if we grow all to be pork-eat- 5 
ers, we shall not shortly have a rasher on the coals for 
money. 

Enter Lorenzo. 

Jes. I'll tell my husband, Launcelot, what you say : 
here he comes. 

Lor. I shall grow jealous of you shortly, Launcelot, 
if you thus get my wife into corners. 10 

Jes. Nay, you need not fear us, Lorenzo: Launce- 
lot and I are out. He tells me flatly , there is no 
mercy for me in heaven, because I am a Jew's daugh- 
ter: and he says, you are no good member of the com- 
monwealth, for in converting Jews to Christians, you 
raise the price of pork. 15 

Lor. I think the best grace of wit will shortly turn 
into silence, 2 and discourse grow commendable in none 
only but parrots. 3 Go in, sirrah; bid them prepare for 
dinner. 

1 By supplying one another's needs. 

2 i. e. The most commendable manifestation of wit will be 
silence. 

3 Who are not expected to know what they are saying. 



Scene V] THE MERCHANT OF VENICE 97 

Laun. That is done, sir; they have all stomachs. 

Lor. Goodly Lord, what a wit-snapper 4 are you ! 20 
then bid them prepare dinner. 

Laun. That is done too, sir; only cover 5 is the 
word. 

Lor. Will you cover then, sir? 

Laun. Not so, sir, neither; I know my duty. 

Lor. Yet more quarrelling with occasion! 6 Wilt 2 * 
thou show the whole wealth of thy wit in an instant. 
I pray thee, understand a plain man in his plain mean- 
ing: go to thy fellows; bid them cover the table, serve 
in the meat, and we will come in to dinner. 

Laun. For the table, sir, it shall be served in ; for 30 
the meat, sir, it shall be covered; for your coming in 
to dinner^ sir, why, let it be as humours and conceits 7 
shall govern. [Exit. 

Lor. dear discretion, 8 how his words are suited ! 9 
The fool hath planted in his memory 35 

An army of good words; and I do know 
A many 10 fools, that stand in better place, 
Garnished 11 like him, that for a tricksy 12 word 



* Wit- snapping is exchange of repartee. 

8 Set the table. 

6 Taking advantage of the form of an expression to dispute 
its meaning. 
T Tour own wishes. 

• Good sense. 

9 So fantastically adorned, i. e. so fantastically used. 

10 A great many. 

11 Mentally equipped. 

12 A word that can be played upon. 



98 THE MERCHANT OF VENICE [Act IV 

Defy the matter. 13 How cheer'st thou, Jessica? 14 
And now, good sweet, say thy opinion, 40 

How dost thou like the Lord Bassanio's wife ? 

Jes. Past all expressing. It is very meet 
The Lord Bassanio live an upright life ; 
For, having such a blessing in his lady, 
He finds the joys of heaven here on earth ; 45 

And if on earth he do not mean it, then 
In reason he should never come to heaven. 
Why, if two gods should play some heavenly match 
And on the wager lay two earthly women, 
And Portia one, there must be something else 50 

Pawned with the other, for the poor rude world 
Hath not her fellow. 

Lor. Even such a husband 

Hast thou of me 15 as she is for a wife. 

Jes. Nay, but ask mj opinion too of that. 

Lor. I will anon : first, let us go to dinner. 55 

Jes. Nay, let me praise you while I have a stomach. 

Lor. No, pray thee, let it serve for table-talk; 
Then, howsoe'er thou speak'st, 'mong other things 
I shall digest it. 

Jes. Well, 111 set you forth. 16 59 

[Exeunt. 



18 The meaning of anything. 
M What cheer? 

16 In me. 

19 Describe you as you are. 



Scene I] 77/7? MERCHANT OF. VENICE 99 

SCENE-SETTING. 
ACT IV.— SCENE I.— VENICE. 

Note. The Trial Scene is the last of the three great 
scenes in THE MERCHANT OF VENICE. Portia, dis- 
guised as a Doctor-at-law, has entered the courtroom 
where Bassanio is, in vain, offering- Shylock thrice his 
bond. Instructed by the learned lawyer, Bellario, she her- 
self conducts the case to a finish successful for Antonio 
and disastrous for Shylock. At the close of the scene, the 
sympathy of the reader is, to some extent, with Shylock, 
in spite of his attitude towards Antonio. 

The case of Shylock against Antonio is being tried be- 
fore a special jury of doctors of the law. The only point 
at issue is whether the peculiar forfeiture described in 
the bond can be legally exacted. The verdict seems to be 
a foregone conclusion ; the best legal opinion thus far ob- 
tained has been unanimously to the effect that the forfeit- 
ure of "a pound of flesh nearest the heart" is of the same 
nature as the forfeiture of lands or goods. The Venetian 
lawyers, however, are willing to defer to the higher au- 
thority of the learned Doctor of Padua, although they ex- 
pect that his opinion will coincide with their own. The 
Duke is present in the interest of the Venetian State ; the 
world must know, that Venice is governed by its laws, not 
by arbitrary power ; the Duke does not conceal his sympa- 
thy with Antonio, but Antonio's fate is wholly in the pow- 
er of the law — a criminal may be pardoned, but no 
stretch of executive clemency can relieve a debtor of his 
legal obligations. 

For Portia's conduct of the case, see Outline Study C, 
III, and the supplementary note at the end of this scene. 

(1). Setting of the Scene. 



100 THE MERCHANT OF VENICE [Act IV 

A Court of Justice — a grand hall, one wall of 
which, ornamented with banners, shields, and armorial 
bearings carved in the stone, forms the background. 
Against the wall, extending nearly across the stage, is a 
raised platform supported by marble pillars and furnished 
with an elaborately carved balustrade. In the middle of 
this platform is the throne of the Duke ; on either side of 
the throne are smaller, but elaborately and upholstered, 
seats for the magnificoes. In front of the raised platform, 
the stage is divided transversely, by railings, into three 
portions. The central division has a secretary's desk at 
each rear corner, and a long table covered with crimson 
velvet cloth and surrounded by chairs and carved benches. 
The other divisions are fitted with plain benches for spec- 
tators, a passage way being left from the entrance at either 
side to the central division. 

The Duke is seated on the throne with the magnificoes, 
among whom is Bassanio, around him. In the railed off 
enclosure in the center of the stage, clerks are writing at 
the desks which are littered with papers. Around the 
crimson covered table are grouped lawyers in rich silk or 
damask gowns, conversing with one another or turning 
the leaves of the huge law books which lie before them. 
Apart from this group, but inside the railing, Antonio 
stands with three or four of his friends, including Grati- 
ano and Salarino. On the other side of the table stands 
Shylock, who has entered accompanied by some of his 
countrymen. On either side of the railed enclosure the 
benches are lined with spectators. Guards in rich velvet 
uniforms, wearing plumed metal helmets and armed with 
halberds, keep the passage ways clear. Portia, in a law- 
yer's robe, followed, as far as the railing, by Nerissa as 
her clerk, in doublet and hose, is escorted to a place at 
the head of the table in the center of the stage, directly 
beneath the throne of the Duke. 



Scene I] TEE MERCHANT OF VENICE 101 

(2). Actors. 

The Duke and Magnificoes of Venice. 

Bassanio. 

Antonio and other iMer chants. 

Shylock and others of his countrymen. 

Gratiano, Salarino, Salanio and Others. 

Portia, as a Doctor of the Civil Law. 

Nerissa, as the Doctor's clerk. 
(3). Costumes. 

The Duke wears a long-, loose-sleeved gown of crim- 
son silk embroidered with gold and ornamented with large 
gold buttons ; over his shoulders is a cape of ermine ; on 
his head, a crimson velvet cap with a gold band encircling 
the forehead. 

Bassanio and the other Magnificoes wear shorter 
gowns of red or black, with stockings, shoes and skull 
caps of the same color. Many of them wear gold chains 
and other jewelry. 

Antonio, who, now that he has appeared in court 
to answer Shylock's suit, is no longer a prisoner, is dressed 
as in Act I, scene i. 

Shylock and his Friends wear costumes not differ- 
ing essentially from those worn by Antonio and. his com- 
panions, except as to the color of their tight-fitting caps, 
which is orange yellow, while the color of those worn by 
the Christian merchants is black. In a bag at his waist, 
Shylock has the bond, written on a narrow strip of vel- 
lum, and the knife, the razor-like edge of which he tries 
with his finger and wipes carefully on his sleeve. An- 
other of the Jewish merchants carries the balances in 
which the pound of flesh is to be weighed. 

Portia, as a Doctor of the Civil Law, wears a long 
gown of black silk, ungirdled, with very capacious open 
sleeves ; a black silk cap conceals her hair. 



102 THE MERCHANT OF VENICE [Act IV 

Ncrissa, as the Doctor's clerk, wears a loose doub- 
let, trunk hose, stockings and felt shoes, all black ; narrow 
ruffles of white lace are at her neck and wrists. 

The Spectators are variously dressed. Among them 
are many Jews, distinguished by their tawny yellow caps, 
also Turks and other foreigners in distinctive national 
dress. 



ACT IV. 

Scene I. Venice. A court of justice. 

Enter the Duke, the Maginificoes, Antonio, Bassanio, 
Geatiano, Salekio, and others. 

Duke. What, is Antonio here ? 

Ant. Beady, so please your grace. 

Duke. I am sorry for thee : thou art come to answer 
A stony adversary, an inhuman wretch 
Uncapable of pity, void and empty 5 

From any dram 1 of mercy. 

Ant. I have heard 

Your grace hath ta'en great pains to qualify 
His rigorous course; but since he stands obdurate 
And that no lawful means can carry me 
Out of his envy's 2 reach, I do oppose 
My patience to his fury, and am armed 
To suffer, with a quietness of spirit, 
The very 3 tyranny and rage of his. 

1 A minute quantity. 

2 Malicious hatred. An obselete meaning of the word. 

3 Actual, i. e. The actual injury which he threatens. 



Scene I] THE MERCHANT OF VENICE 103 

Duke. Go one, and call the Jew into the court, 14 

Saler. He is ready at the door : he comes, my lord. 
Enter Shylock. 

Duke. Make room, and let him stand before our face. 
Shylock, the world thinks, and I think so too, 
That thou but lead'st this fashion of thy malice 4 
To the last hour of act; and then 'tis thought 
Thou'lt show thy mercy and remorse 5 more strange 6 20 
Than is thy strange apparent cruelty; 
And where 7 thou now exact'st the penalty, 
Which is a pound of this poor merchant's flesh, 
Thou wilt not only loose the forfeiture, 
But, touched with human gentleness and love, 25 

Forgive a moiety of the principal ; 
Glancing an eye of pity on his losses, 
That have of late so huddled on his back, 
Enow to press a royal merchant down 
And pluck commiseration of his state 
From brassy bosoms and rough hearts of flint, 
From stubborn Turks and Tartars, never trained 
To offices of tender courtesy. 
AYe all expect a gentle 8 answer, Jew. 9 34 

Shy. I have possessed 10 your grace of what I purpose; 

4 i. e. "Lead men to suppose that you are thus malicious". 

5 Pity, relenting. What is the modern meaning of the word? 

6 Remarkable. 

7 Whereas. 

8 A pun on Gentile may be suggested here. 

9 . Put the Duke's lines into your own words. 
10 i. e. "I have made you fully acquainted with". 



104 THE MERCHANT OF VENICE [Act IV 

And by our holy Sabbath have I sworn 

To have the due and forfeit of my bond : 

If you deny it, let the danger light 

Upon your charter and your city's freedom. 11 

You'll ask me, why I rather choose to have 40 

A weight of carrion flesh than to receive 

Three thousand ducats. I'll not answer that ; 

But, say, it is my humour 12 ; is it answered? 

What if my house be troubled with a rat 

And I be pleased to give then thousand ducats 45 

To have it baned? 13 What, are you answered yet? 

Some men there are love not a gaping pig; 14 

Some, that are mad if they behold a cat. 

As there is no firm 15 reason to be rendered, 

Why he 1G cannot abide a gaping pig; 50 

Why he, a harmless necessary cat ; 

So can I give no reason, nor I will not, 17 

More than a lodged hate and a certain loathing 

I bear Antonio, that I follow thus 

A losing suit against him. Are you answered ? 55 



11 The mediaeval city was free to govern itself by its own 
laws, by virtue of a charter from some king or emperor. This 
charter might be revoked if the powers granted under it were 
abused. Venice, however, was an independent state. 

12 Whim. 

13 Poisoned. 

14 Give your opinion as to the meaning of "gaping pig". 
" Sound. 

16 He he — this one that one. 

" The double negative is meant to strengthen the statement. 



Scene I] THE MERCHANT OF VENICE 105 

Bass. This is no answer, thou unfeeling man, 
To excuse the current 18 of thy cruelty. 

Shy. I am not bound to please thee with my answers. 

Bass. Do all men kill the things they do not love ? 

Shy. Hates any man the thing he would not kill ? G0 

Bass. Every offence 19 is not a hate at first. 

Shy. What, woulclst thou have a serpent sting thee 
twice ? 

Ant. I pray you, think you question with the Jew: 20 
You may as well go stand upon the beach 
And bid the main flood bate his usual height ; 65 

You may as well use question 21 with the wolf 
Why he hath made the ewe bleat for the lamb; 
You may as well forbid the mountain pines 
To wag their high tops and to make no noise, 
When they are fretted with the gusts of heaven; 70 
You may as well do any thing most hard. 
Make no more offers, use no farther means, 
But with all brief and plain conveniency 
Let me have judgement and the Jew his will. 

Bass. For thy three thousand ducats here is six. 75 

Shy. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them ; I would have my bond. 



18 Course. 

19 State of being offended. 

20 i. e. "Remember that you are arguing with the Jew— an 
undignified and useless course of procedure. 

21 Ask. . 



lOG TEE MERCEANT OF VENICE [Act IV 

Duke. How shalt thou hope for mercy, rendering 
none? 

Shy. What judgement shall I dread, doing no 
wrong ? 80 

You have among you many a purchased slave, 
Which, like your asses and your dogs and mules, 
You use in abject and in slavish parts, • 

Because you bought them: shall I say to you, 
Let them be free, marry them to your heirs — 85 

Why sweat they under burthens ? — let their beds 
Be made as soft as yours and let their palates 
Be seasoned with such viands? You will answer 
The slaves are ours : so do I answer you : 
The pound of flesh, which I demand of him, 90 

Is dearly bought; His mine and I will have it. 
If you deny me, fie upon your law ! 
There is no force in the decrees of Venice. 
I stand for judgement: answer; shall I have it? 22 

Duke. Upon my power 23 I may dismiss this court, 95 
Unless Bellario, a learned doctor, 
Whom I have sent for to determine 24 this, 
Come here to-day. 

Saler. My lord, here stays without 

A messenger with letters from the doctor, 
New come from Padua. 10 ° 

Duke. Bring us the letters; call the messenger. 



- Put Shylock's argument into your own words. 
23 Authority. 
u Decide. 



Scene T] THE MERCHANT OF VENICE 107 

Bass. Good cheer, Antonio ! What, man, courage yet [ 
The Jew shall have my flesh, blood, bones and all, 
Ere thou shalt lose for me one drop of blood. 

Ant. I am a tainted wether of the flock, 105 

Meetest for death; the weakest kind of fruit 
Drops earliest to the ground ; and so let me : 
You cannot better be employed, Bassanio, 
Than to live still and write mine epitaph. 

Enter Nerissa, dressed like a lawyer's clerk. 

Duke. Came you from Padua, from Bellario? 110 

Ner. From both, my lord. Bellario greets your 
grace. [Presenting a letter. 

Bass. Why dost thou whet thy knife so earnestly? 25 

Sky. To cut the forfeiture from that bankrupt there. 

Gra. Not on thy sole, but on thy soul, harsh Jew, 
Thou mak'st thy knife keen; but no metal can, 115 

No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. 26 Can no prayers pierce thee? 

Sliy. No, none that thou hast wit enough to make. 

Gra. 0, be thou damned, inexorable dog! 
And for thy life let justice be accused. 12 ° 

Thou almost mak'st me waver in my faith 
To hold opinion with Pythagoras, 27 
That souls of animals infuse themselves 



25 Describe the stage action which calls worth this remark 
from Bassanio. 

26 Give the meaning of the word. Where has the same word 
been used before in this scene? 

27 Identify Pythagoras, and explain the sentence. 



108 THE MERCHANT OF VENICE [Act IV 

Into the trunks of men: thy currish spirit 

Governed a wolf, who hanged for human slaughter. 125 

Shy. Till thou canst rail the seal from off my bond, 
Thou but offend'st thy lungs to speak so loud : 
Repair thy wit, good youth, or it will fall 
To endless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 130 
A young and learned doctor to our court. 
Where is he? 

Ner. He attendeth here hard by, 28 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four of you 
Go give him courteous conduct to this place. 135 

Meantime the court shall hear Bellario's letter. 

Clerk. [Reads.] Your grace shall understand that at the 
receipt of your letter I am very sick: but in the instant 
that your messenger came, in loving visitation was with 
me a young doctor of Rome ; his name is Balthasar. I ac- 
quainted him with the cause in controversy between the 
Jew and Antonio the merchant : we turned o'er many books 
together : he is furnished with my opinion ; which, bettered 
with his own learning, the greatness whereof I cannot 
enough commend, comes with him, at my importunity, to 
fill up your grace's request in my stead. I beseech you let 
his lack of years be no impediment to let him lack a rev- 
erend estimation; for I never knew so young a body with 
so old a head. I leave him to your gracious acceptance, 
whose trial shall better publish his commendation. 

* Paraphrase the line. 



Scene I] THE MERCHANT OF VENICE 109 

Duke. You hear the learned Bellario, what he 
writes : 150 

And here, I take it, is the doctor come. 

Enter Portia, dressed like a Doctor of Laws. 
Give me your hand. Come you from old Bellario? 

Por. I did, my lord. 

Duke. You are welcome : take your place. 

Are you acquainted with the difference 
That holds this present question in the court? 29 

Por. I am informed thoroughly of the cause. 155 
Which is the merchant here, and which the Jew ? 

Duke. Antonio and old Shylock, both stand forth. 

Por. Is your name Shylock ? 

Shy. Shylock is my name. 

Por. Of a strange nature is the suit you follow; 16 ° 
Yet in such rule 30 that the Venetian law 
Cannot impugn you as you do proceed. 
You stand within his danger, 31 do you not? 

Ant. Ay, so he says. 

Por. Do you confess the bond? 

Ant. I do. 

Por. Then must the Jew be merciful. 165 

Shy. On what compulsion must I? tell me that. 

Por. The Quality of mercy is not strained; 32 
It droppeth as the gentle rain from heaven 

29 i. e. The dispute that is the subject of this discussion. 

30 i. e. So in accordance with the law. 
81 Power to harm. 

32 Constrained or compelled, that is, compulsion and mercy- 
are incompatible ideas. 



110 TEE MERCHANT OF VEX ICE [Act TV 

Upon the place beneath. It is twice blest ; 

It blesseth him that gives and him that takes : 17 ° 

'Tis mightiest in the mightiest: it becomes 

The throned monarch better than his crown: 

His sceptre shows 33 the force of temporal power, 

The attribute to awe and majesty, 

Wherein doth sit the dread and fear of kings ; 175 

But mercy is above the sceptred sway ; 

It is enthroned in the hearts of kings, 

It is an attribute to God himself ; 

And earthly power doth then show 34 likest God's 

When mercy seasons justice. Therefore, Jew, 1S0 

Though justice be thy plea, consider this, 

That, in the course of justice, none of us 

Should see salvation : we do pray for mercy ; 

And that same prayer doth teach us all to render 

The deeds of mercy. I have spoke thus much 185 

To mitigate the justice of thy plea ; 

Which if thou follow, 35 this strict court of Venice 

Must needs give sentence 'gainst the merchant there. 

Shy. My deeds upon my head ! I crave the law, 
The penalty and forfeit of my bond. 190 

Por. Is he not able to discharge the money? 36 
Bass. Yes, here I tender it for him in the court; 
Yea, twice the sum : if that will not suffice, 
1 will he bound to pay it ten times o'er, 

83 Is a symbol of. 

84 Appear. 

85 i. e., "If you persist in adhering to the letter of the law", 
88 Paraphrase. 



Scene I] THE MERCHANT OF VEX ICE 111 

On forfeit of my hands, my head, my heart: 195 

If this will not suffice, it must appear 

That malice bears down truth. And I beseech you, 

Wrest once the law to your authority : 37 

To do a great right, do a little wrong, 

And curb this cruel devil of his will 

For. It must not be ; there is no power in Venice 
Can alter a decree established; 
Twill be recorded for a precedent, 
And many an error by the same example 
Will rush into the state : it cannot be. 203 

Shy. A Daniel come to judgement ! yea, a Daniel ! 38 
wise young judge, how I do honour thee ! 

For. I pray you, let me look upon the bond. 

Shy.' Here 'tis, most reverend doctor, here it is. 

For. Shylock, there's thrice thy money offered thee. 

Shy. An oath, an oath, I have an path in heaven : 
Shall I lay perjury upon my soul? 
No, not for Venice. 

For. Why, this bond is forfeit; 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant's heart. Be merciful: 215 

Take thrice thy money; bid me tear the bond. 39 



37 i. e. Put a forced construction on the law. 

38 Explain. 

39 Study Outline Study C, III, 2. 



112 TEE MERCHANT OF VENICE [Act IV 

Shy. When it is paid according to the tenour. 
It doth appear you are a worthy judge ; 
You know the law, your exposition 220 

Hath been most sound; I charge you by the law, 
Whereof you are a well-deserving pillar, 
Proceed to judgement : by my soul I swear 
There is no power in the tongue of man 
To alter me : I stay here on my bond. 225 

Ant. Most heartily I do beseech the court 
To give the judgement. 

For. Why then,thus it is : 

You must prepare your bosom for his knife. 

Shy. noble judge ! excellent young man ! 

For. For the intent and purpose of the law 23 ° 

Hath full relation to the penalty. 
Which here appeareth due upon the bond. 

Shy. ? Tis very true : wise and upright judge ! 
How much more elder art thou than thy looks ! 

For. Therefore lay bare your bosom. 

Sky. Ay, his breast: 23B 

So says the bond: doth it not, noble judge? 
"Nearest his heart :" those are the very words. 

For. It is so. Are there balances here to weigh 
The flesh? 

Shy. I have them ready. 

For. Have by some surgeon, Shvlock, on your 
charge, 24(> 

To stop his wounds, lest he do bleed to death. 

Shy. Is it so nominated in the bond ? 



Scene I] THE MERCHANT OF VENICE 113 

Por. It is not so expressed : but what of that ? 
'Twere good you do so much for charity. 

Shy. I cannot find it; 'tis not in the bond. 245 

Por. You, merchant, have you anything to say? 

Ant. But little : I am armed and well prepared. 
Give me your hand, Bassanio : fare you well ! 
Grieve not that I am fallen to this for you ; 
For herein Fortune shows herself more kind 25 ° 

Than is her custom. It is still her use 40 
To let the wretched man outlive his wealth, 
To view with hollow eye and wrinkled brow 
An age of poverty; from which lingering penance 
Of such a misery doth she cut me off. 255 

Commend me to your honourable wife : 
Tell her the process of Antonio's end; 
Say how I loved you, speak me fair 41 in death; 
And, when the tale is told, bid her be judge 
Whether Bassanio had not once a love. 42 260 

Eepent but you that you shall lose your friend, 
And he repents not that he pays your debt ; 43 
For if the Jew do cut but deep enough, 
I'll pay it presently 44 with all my heart. 

Bass. Antonio, I am married to a wife 265 

Which is as dear to me as life itself; 



40 It is ever her custom. 

41 Speak well of me. 

42 A friend. 

43 i. e. "If only you regret that you have lost a friend, then 
I will not regret that I have paid your debt." 

44 Instantly. 



114 TEE MERCHANT OF VENICE [Act IV 

But life itself, my wife, and all the world, 

Are not with me esteemed above thy life : 

I would lose all, ay, sacrifice them all 

Here to this devil, to deliver you. 27 ° 

Por. Your wife would give you little thanks for that, 
If she were by, to hear you make the offer. 

Gra. I have a wife, whom, I protest, I love : 
I would she were in heaven, so she could 
Entreat some power to change this currish Jew. 275 

Ner. 'Tis well you offer it behind her back; 
The wish would make else an unquiet house. 

Shy. These be the Christian husbands. I have a 
daughter ; 
Would any of the stock of Barrabas 45 
Had been her husband rather than a Christian ! 280 

[Aside. 
We trifle time : I pray thee, pursue sentence. 

Por. A pound of that same merchant's flesh is thine : 
The court awards it, and the law doth give it. 

Shy. Most rightful judge ! 

Por. And you must cut this flesh from off his 
breast : 2S5 

The laws allows it, and the court awards it. 

Shy. Most learned judge! A sentence! Come, pre- 
pare ! 46 

Por. Tarry a little; there is something else. 

46 Identify. How did Shakespeare pronounce the name? 
** Enumerate all the details which would enter into the com- 
position of a painting of this scene at this point. 



Scene I] THE MERCHANT OF VENICE 115 

This bond doth give thee here no jot of blood; 

The words expressly are "a pound of flesh :" 290 

Take then thy bond, take thou thy pound of flesh; 

But, in the cutting it, if thou dost shed 

One drop of Christian blood, thy lands and goods 

Are, by the laws of Venice, confiscate 

Unto the state of Venice. 295 

Gra. upright judge ! Mark, Jew ; learned 
judge ! 

Shy. Is that the law ? 47 

For. Thyself shall see the act: 48 

For, as thou urgest justice, be assured 
Thou shalt have justice, more than thou desirest. 

Gra. learned judge ! Mark, Jew : a learned 
judge ! 30 ° 

Shy. I take this offer, then; pay the bond thrice 
And let the Christian go. 

Bass. Here is the money. 

For. Soft ! 
The Jew shall have all justice ; soft ! no haste : 
He shall have nothing but the penalty. 

Gra. Jew ! an upright judge, a learned judge ! 

For. Therefore prepare thee to cut off the flesh. 
Shed thou no blood, nor cut thou less nor more 
But just a pound of flesh : if thou cut'st more 
Or less than a just 49 pound, be it but so much 31 ° 

47 What would be an appropriate action on the part of Shylock 
at this point? 

48 Define. 

49 Exact. 



116 THE MERC H Ay T OF VENICE [Act IV 

As makes it light or heavy in the substance, 50 

Or the divison of the twentieth part 

Of one poor scruple, nay, if the scale do turn 

But in the estimation of a hair, 51 

Thou diest and all thy goods are confiscate. 315 

Gra. A second Daniel, a Daniel, Jew ! 
Now infidel, I have thee on the hip. 52 

Por. Why doth the Jew pause ? take thy forfeiture. 

Shy. Give me my principal, and let me go. 

Bass. I have it ready for thee ; here it is. 32 ° 

Por. He hath refused it in the open court : 
He shall have merely justice and his bond. 

Gra. A Daniel, still say I, a second Daniel ! 
I thank thee, Jew, for teaching me that word. 

Shy. Shall I not have barely my principal? 325 

Por. Thou shalt have nothing but the forfeiture, 
To be so taken at thy peril, Jew. 

Shy. Why, then the Devil give him good of it! 
I'll stay no longer question. 

Por. Tarry, Jew: 

The law hath yet another hold on you. 330 

It is enacted in the laws of Venice, 
If it be proved against an alien 
That by direct or indirect attempts 
He seek the life of any citizen, 



50 i. e. In the entire weight. 

61 Explain. 

62 This expression, is taken from the language of wrestling. 
It means "I have the advantage over you." 



Scene I] THE MERCHANT OF VENICE 117 

The party 'gainst the which he doth contrive 335 

Shall seize one half his goods ; the other half 

Conies to the privy coffer of the state; 

And the offender's life lies in the mercy 

Of the Duke only, 'gainst all other voice. 

In which predicament, I say, thou stand'st; 340 

For it appears, by manifest proceeding, 

That indirectly, and directly too, 

Thou hast contrived against the very life 

Of the defendant ; and thou hast incurred 

The danger formerly by me rehearsed. 345 

Down therefore and beg mercy of the Duke. 53 

Gra. Beg that thou mayst have leave to hang thy- 
self: 
And yet, thy wealth being forfeit to the state, 
Thou hast not left the value of a cord; 
Therefore thou must be hanged at the state's charge. 350 

Duke. That thou shalt see the difference of our 
spirits, 
I pardon thee thy life before thou ask it : 
For half thy wealth, it is Antonio's; 
The other half comes to the general state, 
Which humbleness may drive unto a fine. 54 355 

For. Ay, for the state, not for Antonio. 

Shy. Nay, take my life and all ; pardon 55 not that : 
You take my house when you do take the prop 



53 Describe Shylock's predicament. 

64 Which humility may commute into a fine. 
55 i. e. Spare not that. 



IIS THE MERCHANT OF VEX ICE [A39 IV 

That doth sustain my house; you take my life 3G0 

When you do take the means whereby I live. 

Por. What mercy can you render him, Antonio? 

Gra. A halter gratis; nothing else, for God's sake. 

Ant. So please my lord the Duke and all the court 
To quit the fine for one half of his goods, 
I am content; so he will let me have S65 

The other half in use, to render it, 
Upon his death, unto the gentleman 
That lately stole his daughter: 
Two things provided more, that, for this favour, 
He presently become a Christian; 37 ° 

The other, that he do record a gift, 
Here in the court, of all he dies possessed, 
Unto his son Lorenzo and his daughter. 

Duke. He shall do this, or else I do recant 
The pardon that I late pronounced here. 375 

Por. Art thou contented, Jew ? what dost thou say ? 

Shy. I am content. 56 

Por. Clerk, draw a deed of gift. 

Shy. I pray you, give me leave to go from hence ; 
I am not well: send the deed after me, 
And I will sign it. 

Duke. Get thee gone, but do it. 88 ° 

Gra. In christening shalt thou have two godfathers : 



66 Draw a word picture of the scene. 



Scene I] THE MERCHANT OF VENICE 119 

Had I been judge, thou shouldst have had ten 57 more, 
To bring thee to the gallows, not the font. [Exit Sliylock 

Duke. Sir, I entreat you home with me to dinner. 

For. I humbly do desire your grace of pardon : 58 p 85 
I must away this night toward Padua, 
And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you not. 59 
Antonio, gratify 60 this gentleman; 

For, in my mind, you are much bound to him. 390 

[Exeunt Duke and his train. 

Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 
Of grievous penalties; in lieu whereof, 
Three thousand ducats, due unto the Jew, 
We freely cope 61 your courteous pains withal. 

Ant. And stand indebted, over and above, 
In love and service to you evermore. 

For. He is well paid that is well satisfied; 
And I, delivering you, am satisfied 
And therein do account myself well paid: 40 ° 

My mind was never yet more mercenary. 62 
I pray you, know me when we meet again : 
I wish you well, and so I take my leave. 



87 Making the twelve jurymen who should pronounce sen- 
tence of death. 
68 Pardon of your grace. 
89 Paraphrase. 

80 Reward. 

81 Requite. 

62 Anxious for further payment. 



120 THE MERCHANT OF VEX ICE [Act IV 

Bass. Dear, sir, of force I must attempt you 
further ; 63 
Take some remembrance of us, as a tribute, 405 

Not as a fee : grant me two things, I pray you, 
Xot to deny me, and to pardon me. 

Por. You press me far, and therefore I will yield. 
[To Ant.] Give me your gloves, HI wear them for your 

sake ; 
[To Bass.] And, for your love, I'll take this ring from 

you: 
Do not draw back your hand; I'll take no more; 
And you in love shall not deny me this. 

Bass. This ring, good sir, alas, it is a trifle ! 
I will not shame myself to give you this. 

For. I will have nothing else but only this; 415 
And now methinks I have a mind to it. 

Bass. There's more depends on this man on the value. 
The dearest ring in Venice will I give you, 
And find it out by proclamation: 
Only for this, I pray you, pardon me. 42 ° 

Por. I see, sir, you are liberal in offers : 
You taught me first to beg; and now methinks 
You teach me how a beggar should be answered. 

Bass. Good sir, this ring was given me by my wife ; 
And when she put it on she made me vow 425 

That I should neither sell, nor give nor lose it. 

Por. That 'scuse serves many men to save their gifts. 
An if your wife be not a mad-woman, 

63 i. e. "I must attempt to induce you to accept a fee". 



Scene I] THE MERCHANT OF VENICE 121 

And know how well I have deserved the ring, 

She would not hold out enemy for ever, 64 430 

For giving it to me. Well, peace be with you ! 

[Exeunt Portia and Nerissa. 

Ant. My Lord Bassanio, let him have the ring: 
Let his deservings and my love withal 
Be valued against your wife's commandment. 

Bass. Go, Gratiano, run and overtake him; 435 

Give him the ring, and bring him if thou canst, 
Unto Antonio's house : away ! make haste. 

[Exeunt Gratiano. 

Come, you and I will thither presently; 

And in the morning early will we both 

Fly toward Belmont: come, Antonio. [Exeunt. 440 

Supplementary Note. The Trial Scene is a triumph of 
dramatic art over the human reason. It is impossible to see 
this scene acted or even to read the words for the first 
time without feeling that for once poetic justice and legal 
justice have coincided and that Shylock has been con- 
founded by due process of righteous law. 

Examined closely, however, the scene appears as a mere 
travesty of judicial procedure. The bond transaction be- 
tween Antonio and Shylock is either frivolous or criminal, 
yet Portia decides that the court is bound to recognize it. 
Having admitted the monstrous proposition that living 
flesh can be cut from a human being by process of law, 
she decides contrary to all principles of law and common 
sense that the right to cut such flesh does not imply the 
right to shed blood. Then, because the Jew had refused 

M Is Portia speaking as a Doctor-at-law should speak? 



122 THE MERCHANT OF VENICE [Act IV 

to sell his supposed legal right to the forfeiture named in 
the bond, the learned judge decrees that Antonio owes him 
nothing. Again, she arraigns the plaintiff on a criminal 
charge and condemns him without trial. In the end Shy- 
lock is glad to escape from the court house with his life 
and a life interest only in a fraction of his estate. 



SCENE-SETTING. 
ACT IV.— SCENE II.— VENICE. 

(1). Setting of the Scene. 

The street of Act II, scene iii. 
(2). Actors. 

Portia and Xerissa. 

Gratia no. 
(3). Costumes. 

Portia and Xerissa have just come from the court 
room and are still in disguise. 
(4). Time of Action. 

Following immediately upon the action of Act IV, 
scene i. 

Scene II. The same. A street. 

Enter Portia and Nerissa. 

Por. Inquire the Jew's house out, give him this 
deed 
And let him sign it : we'll away to-night 
And be a day before our husbands home: 
This deed will be well welcome to Lorenzo. 



Scene II] THE MERCHANT OF VENICE 123 

Enter Gbatiano. 

Gra. Fair sir, you are well o'erta'en: 5 

My Lord Bassanio upon more advice 1 
Hath sent you here this ring, and doth entreat 
Your company at dinner. 

Por. That cannot be : 

His ring I do accept most thankfully: 
And so, I pray you, tell him : furthermore, 10 

I pray you, show my youth old Shylock's house. 2 

Gra. That will I do. 

Ner. Sir, I would speak with you. 

[Aside to Por.] I'll see if I can get my husband's ring. 
Which I did make him swear to keep for ever. 

Por. [Aside to Ner.] Thou mayst, I warrant. 
We shall have old 3 swearing 
That they did give the rings away to men; 
But we'll outface them, and outswear them too. 
[Aloud.] Away ! make haste: thou know'st where I will 
tarry. 

Ner. Come, good sir, will you show me to this house ? 

[Exeunt. 



1 Reflection or deliberation. 

2 This is a dramatic device to enable Nerissa to obtain her 
ring from Gratiano. 

s Great. 



124 THE MERCHANT OF VENICE [Act V 

SCENE-SETTING. 
ACT V.— SCENE I.— BELMONT. 

Note. "The Fifth Act merrily finishes, at Belmont, the 
love affairs of the play". By the aid of this one scene, the 
impression produced by THE MERCHANT OF VENICE is, 
"in spite of Shylock's tragic fate", that of a pleasant come- 
dy. The episode of the rings is the dramatic device by 
which Bassanio is made acquainted with Portia's part in 
the Trial Scene. 

(1). Setting of the Scene. 

The Garden at Belmont as in Act III, scene v. "The 
time is evening ; the moon is in the heavens, full-orbed and 
shining with a steady luster ; on the green sward fall the 
ever changing shadows of the lofty trees ; where trees are 
not, the moonbeams sleep upon the bank ; the distant horn 
is heard ; music floats upon the breeze." 
(2). Actors. 

Lorenzo and Jessica. 

Portia and Nerissa. 

Bassanio and Gratiano. 

Stephano and Launcelot. 

Musicians. 
(3). Costumes. 

All the actors are dressed as in previous scenes. 
(4). Time of Action. 

The evening of the day on which the Trial Scene 
takes place. 

Scene I. Belmont. Avenue to Portia's house. 

Enter Lorenzo and Jessica. 

Lor. The moon shines bright : in such a night as this, 
When the sweet wind did gently kiss the trees 



Scene I] THE MERCHANT OF VENICE 125 

And they did make no noise, in such a night 
Troilus me thinks mounted the Trojan walls 
And sighed his soul toward the Grecian tents, 5 

Where Cressicla lay that night. 1 

Jes. In such a night 

Did Thisbe 2 fearfully o'ertrip the dew 
And saw the lion's shadow ere himself 
And ran dismayed away. 

Lor. In such a night 

Stood Dido with a willow 3 in her hand 10 

Upon the wild sea banks and waft her love 
To come again to Carthage. 

Jes. In such a night 

Medea gathered the enchanted herbs 
That did renew old Aeson. 

Lor. In such a night 

Did Jessica steal from the wealthy Jew 15 

And with an unthrift 4 love did run from Venice 
As far as Belmont. 

Jes. In such a night 

Did young Lorenzo swear he loved her well, 
Stealing her soul with many vows of faith 
And ne'er a true one. 



1 Lorenzo refers to the story of Troilus and Cressida told by 
Chaucer. 

2 Consult the Classical Dictionary for Thisbe, Dido, Carthage, 
and Medea. 

» The willow was emblematic of love forsaken. 
* Unthrifty. 



126 THE MERCHANT OF VENICE [Act V 

Lor. In such a night 20 

Did pretty Jessica, like a little shrew, 
Slander her love, and he forgave it her. 

Jes. I would out-night you, did nohody come; 
But, hark, I hear the footing 5 of a man. 
Enter Stephano. 

Lor. Who comes so fast in silence of the night? 25 

Steph. A friend. 

Lor. A friend ! what friend ? your name, I pray you, 
friend ? 

Steph. Stephano is my name; and I bring word 
My mistress will before the break of day 
Be here at Belmont : she doth stray about 30 

By holy crosses, 6 where she kneels and prays 
For happy wedlock hours. 

Lor. Who comes with her? 

Steph. None but a holy hermit and her maid. 
I pray you, is my master yet returned? 

Lor. He is not, nor we have not heard from him. 
But go we in, I pray thee, Jessica, 35 

And ceremoniously let us prepare 
Some welcome for the mistress of the house. 
Enter Launcelot. 

Laun. Sola, sola! wo ha, ho! sola, sola! 7 

Lor. Who calls? 40 

* Tread. 

8 Crosses and shrines may be seen by the roadside throughout 
Italy. In olden times it was the custom for travellers of all 
anks to kneel before them and pray for their "heart's desire". 
T Launcelot is imitating the horn of the courier or "post". 



Scene I] THE MERCHANT OF VENICE 127 

Laun. Sola ! did you see Master Lorenzo ? Master 
Lorenzo, sola, sola ! 

Lor. Leave hollaing, man: here. 

Laun. Sola ! where ? where ? 

Lor. Here. 

Laun. Tell him there's a post come from my master, 
with his horn full of good news : my master will be here 
ere morning. [Exit. 

Lor. Sweet soul, let's in, and there expect their com- 
ing. 
And yet no matter : why should we go in ? 60 

My friend Stephano, signify, I pray you, 
Within the house, your mistress is at hand ; 
And bring your music forth into the air. 

[Enter Stephano. 

How sweet the moonlight sleeps upon this bank ! 

Here will we sit and let the sounds of music 55 

Creep in our ears; soft stillness and the night 

Becomes the touches of sweet harmony. 

Sit, Jessica. Look how the floor of heaven 

Is thick inlaid with patines 8 of bright gold : 

There's not the smallest orb which thou behold'st 60 

But in his motion like an angel sings, 1 * 

Still quiring 9 to the young-eyed cherubins; 10 

Such harmony is in immortal souls; 



* Define. 

• To sing in harmony. 

10 What is the plural of "cherub"? 



128 THE MERCHANT OF VENICE [Act V 

But whilst this muddy vesture of decay 11 

Doth grossly close it in, we cannot hear it. 65 

Enter Musicians. 
Come, ho! and wake Diana 12 with a hymn: 
With sweetest touches pierce your mistress' ear 
And draw her home with music. [Music. 

Jes. I am never merry when I hear sweet music. 

Lor. The reason is, your spirits are attentive : 70 
For do but note a wild and wanton herd, 
Or race of youthful and unhandled 13 colts, 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood; 
If they but hear perchance a trumpet sound, 75 

Or any air of music touch their ears, 
You shall perceive them make a mutual 14 stand, 
Their savage eyes turned to a modest gaze 
By the sweet power of music: therefore the poet 15 
Did feign that Orpheus drew trees, stones and floods ; 
Since nought so stockish, hard and full of rage, 81 

But music for the time doth change his nature. 
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is tit for treasons, strategems and spoils : 85 

The motions of his spirit are dull as night 



11 Paraphrase this line. 

11 To which of the attributes of Diana is the reference here? 

18 Unbroken. 

14 Simultaneous. 

15 Ovid, Books x and xi. Many other poets have told the 
story of Orpheus, for which, consult the Classical Dictionary. 



Scene I] THE MERCHANT OF VENICE 129 

And his affections dark as Erebus: 16 
Let no such man be trusted. 17 Mark the music. 
Enter Portia and Nerissa. 

Por. That light we see is burning in my hall. 
How far that little candle throws his beams! 90 

So shines a good deed in a naughty world. 

Ner. When the moon shone, we did not see the candle. 

Por. So doth the greater glory dim the less : 
A substitute shines brightly as a king 
Until a king be by; and then his state 95 

Empties itself, as doth an inland brook 
Into the main of waters. 18 Music! hark! 

Ner. It is your music, madam, of the house. 

Por. Nothing is good, I see, without respect: 19 
Methinks it sounds much sweeter than by day. 10 ° 

Ner. Silence bestows that virtue on it, madam. 

Por. The crow doth sing as sweetly as the lark 
When neither is attended, 20 and I think 
The nightingale, if she should sing by day, 
When every goose is cackling, would be thought 10B 
No better a musician than the wren. 
How many things by season seasoned are 21 
To their right praise and true perfection ! 



18 Consult the Classical Dictionary. 

17 Learn lines 83-88: 90 & 91. 

18 Paraphrase lines 94-97. 

19 i. e. A thing is good or bad according to the point of view. 
Portia goes on to explain her meaning by concrete examples. • 

20 Listened to. 

21 From footnote 19, explain the meaning of this line. 



130 THE MERCHANT OF VENICE [Act V 

Peace, ho ! the moon sleeps with Endymion 22 

And would not be awaked. [Music ceases. 

Lor. That is the voice, 110 

Or I am much deceived, of Portia. 

Por. He knows me as the blind man knows the 
cuckoo, 
By the bad voice. 

Lor. Dear lady, welcome home. 

Por. We have been praying for our husbands' healths, 
Which speed, we hope, the better for our words. 115 
Are they returned? 

Lor. Madam, they are not yet; 

But there is come a messenger before, 
To signify their coming. 

Por. Go in, Nerissa; 

Give order to my servants that they take 
No note at all of our being absent hence; 120 

Nor you, Lorenzo ; Jessica, nor you. [A tucket sounds. 

Lor. Your husband is at hand ; I hear his trumpet : 
We are no tell-tales, madam; fear you not. 

Por. This night methinks is but the daylight sick; 
It looks a little paler : 'tis a day, 125 

Such as the day is when the sun is hid. 
Enter Bassanio, Antonio, Gratiano, and their followers. 

Bass. We should hold day with the Antipodes, 
If you would walk in absence of the sun. 23 

M Consult the Classical Dictionary. Read Longfellow's poem 
entitled "Endymion". 

M "If you would always walk in the night, it would be day 
with us, as it now is on the other side of the globe". 



Scene I] TEE MERCEANT OF VENICE 131 

For. Let me give light, but let me not be light; 
For a light wife doth make a heavy husband, 13 ° 

And never be Bassanio so for me: 
But God sort 24 all ! You are welcome home, my lord. 

Bass. I thank you, madam. Give welcome to my 
friend. 
This is the man : this is Antonio, 
To whom I am so infinitely bound. 135 

For. You should in all sense be much bound to him, 
For, as I hear, he was much bound for you. 

Ant. No more than I am well acquitted of. 

For. Sir, you are very welcome to our 25 house : 
It must appear in other ways than words, 140 

Therefore I scant this breathing courtesy. 26 

Gra. [To Ner.] By yonder moon I swear you do me 
wrong ; 27 
In faith, I gave it to the judge's clerk. 

For. A quarrel, ho, already! what's the matter? 

Gra. About a hoop of gold, a paltry ring 145 

That she did give me, whose posy was 
For all the world like cutler's poetry 
Upon a knife, 28 "Love me, and leave me not." 

Ner. What talk you of the posy or the value ? 
You swore to me, when I did give it you, 15 ° 

s< Suit. 

35 Give the charming significance of this pronoun. 
26 i. e. The courtesy of mere words. 
« Describe the action which justifies this line. 
28 Knives were often inscribed with mottoes or proverbs In 
rhyme. 



132 THE MERCHANT OF VENICE [Act V 

That you would wear it till your hour of death, 
And that it should lie with you in your grave. 
Though not for me, yet for your vehement oaths, 
You should have been respective 29 and have kept it. 
Gave it a judge's clerk ! no, God's my judge, 155 

The clerk will ne'er wear hair on's face that had it. 

Gra. He will, an if he live to be a man. 

Ner. Ay, if a woman live to be a man. 

Gra. Now, by this hand, I gave it to a youth, 
A kind of boy, a little scrubbed 30 boy, 160 

No higher than thyself, the judge's clerk, 
A prating boy, that begged it as a fee: 
I could not for my heart deny it him. 

For. You were to blame, I must be plain with you, 
To part so slightly with your wife's first gift; 165 
A thing stuck on with oaths upon your finger 
And so riveted with faith unto your flesh. 
I gave my love a ring and made him swear 
Never to part with it ; and here he stands ; 
I dare be sworn for him he would not leave it 170 

Nor pluck it from his finger, for the wealth 
That the world masters. Now, in faith, Gratiano, 
You give your wife too unkind a cause of grief : 
An t'were to me, I should be mad at it. 

Bass. [Aside.] Why, I were best to cut my left hand 
off 31 175 

« Mindful. 

80 Small in stature. 

n Describe the action that justifies this line. 



Scene I] THE MERCHANT OF VENICE 133 

And swear I lost the ring defending it. 

Gra. My Lord Bassanio gave his ring away 
Unto the judge that begged it, and indeed 
Deserved it too; and then the boy, his clerk, 
That took some pains in writing, he begged mine; 180 
And neither man nor master would take aught 
But the two rings. 

Por. What ring gave you, my lord ? 

Not that, I hope, which you received of me. 

Bass. If I could add a lie unto a fault, 
I would deny it; but you see my finger 1S5 

Hath not the ring upon it ; it is gone. 

Por. Even so void is your false heart of truth. 

Bass. Sweet Portia, 
If you did know to whom I gave the ring, 
If you did know for whom I gave the ring, 190 

And would conceive for what I gave the ring, 
And how unwillingly I left the ring, 
When nought would be accepted but the ring, 
You would abate the strength of your displeasure. 

Por. If you had known the virtue of the ring, 195 
Or half her worthiness that gave the ring, 
Or your own honour to contain the ring, 
You would not then have parted with the ring. 
What man is there so much unreasonable, 
If you had pleased to have defended it 20 ° 

With any terms of zeal, wanted the modesty 
To urge the thing held as a ceremony? 32 

82 Symbol. 



134 THE MERC HAST OF VENICE [Act V 

Nerissa teaches me what to believe : 

I'll die for t ? but some woman had the ring. 33 

Bass. No, by my honour, madam, by my soul, 205 
No woman had it, but a civil doctor, 34 
Which did refuse three thousand ducats of me 
And begged the ring; the which I did deny him 
And suffered him to go displeased away; 
Even he that did uphold the very life 210 

Of my dear friend. What should I say, sweet lady ? 
I was enforced to send it after him; 
I was beset with shame and courtesy; 
My honour would not let ingratitude 
So much besmear it. Pardon me, good lady; 215 

For, by these blessed candles of the night, 35 
Had you been there, I think you would have begged 
The ring of me to give the worthy doctor. 

Ant. I am the unhappy subject of these quarrels. 

For. Sir, grieve not you; you are welcome notwith- 
standing. 220 

Bass. Portia, forgive me this enforced wrong; 
And, in the hearing of these many friends, 
I swear to thee, even by thine own fair eyes, 
Wherein I see myself — 

Por. Mark you but that! 

In both my eyes he doubly sees himself; 22B 



M Put into a plain statement lines 199-202. 
M A Doctor of Civil Law. 
M To what is the reference? 



Scene I] THE MERCHANT OF VENICE 135 

In each eye, one : swear by your double self, 
And there's an oath of credit. 

Bass. Nay, but hear me: 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 

Ant. I once did lend my body for his wealth, 36 230 
Which, but for him that had your husband's ring, 
Had quite miscarried : I dare be bound again, 
My soul 37 upon the forfeit, that your lord 
Will never more break faith advisedly. 38 

Por. Then you shall be his surety. Give him this 235 
And bid him keep it better than the other. 

Ant. Here, Lord Bassanio; swear to keep this ring. 

Bass. By heaven, it is the same I gave the doctor ! 

Por. You are all amazed : 
Here is a letter; read it at your leisure; 240 

It comes from Padua, from Bellario : 
There you shall find that Portia was the doctor, 
Nerissa there her clerk. Lorenzo here 
Shall witness I set forth as soon as you 
And even but now returned; I have not yet 245 

Entered my house. Antonio, you are welcome; 
And I have better news in store for you 
Than you expect. Unseal this letter soon : 
There you shall find three of your argosies 
Are richly come to harbour suddenly : 2S0 

You shall not know by what strange accident 
I chanced on this letter. 

88 Welfare. 



136 THE MERCHANT OF VENICE [Act V 

Ant. I am dumb. 

Bass. Were you the doctor and I knew you not? 

Ant. Sweet lady, you 'have given me life and living; 
For here I read for certain that my ships 25B 

Are safely come to road. 

Tor. How now, Lorenzo! 

My clerk hath some good comforts too for you. 

Ner. Ay, and Fll give them him without a fee. 
There do I give to you and Jessica, 
From the rich Jew, a special deed of gift, 26 ° 

After his death, of all he dies possessed of. 

Lor. Fair ladies, you drop manna in the way 
Of starved people. 

Por. It is almost morning, 

And yet I am sure you are not satisfied 
Of these events at full. 39 Let us go in; 265 

And charge us there upon inter'gatories, 40 
And we will answer all things faithfully. 

Gra. Well, while I live Fll fear no other thing 
So sore as keeping safe Nerissa's ring. [Exeunt. 



87 As of more importance than his mere body. 

88 Purposely. 

89 Fully satisfied. 

40 i. e. "Ask us questions". 

Xote. Mrs. Jaimeson in her "Characteristics of Shakes- 
peare's Heroines" closes her chapter upon the character of 
Portia, thus : — 

"Shylock and his machinations being dismissed from our 
thoughts, and the rest of the dramatis personae assembled 
together at Belmont, all our interest and all our attention 



Scene I] TEE MERCEANT OF VENICE 137 

are riveted on Portia, and the conclusion leaves the most 
delightful impression on the fancy. The playful equivoque 
of the rings, the sportive trick she puts on her husband, 
and her thorough enjoyment of the jest, show how little 
she was displeased by the sacrifices of her gift, and all are 
consistent with her bright and joyous spirit. On conclu- 
sion, when Portia invites the company into her palace to 
refresh themselves after her travels, and talk over these 
events at full, the imagination, unwilling to lose sight of 
the brilliant group, follows them in gay procession from 
the lovely moonlit garden to marble halls and princely 
revels, to splendor and festive mirth, to love and happi- 






One copy del. to Cat. Div. 
APR 29 1911 



LIBRARY OF CONGRESS 




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